Running Head: THE HUMBLE BLACKSMITH 1

The Humble Blacksmith:

An Examination of Amateur Blacksmithing

Christian Davis

Oklahoma State University

THE HUMBLE BLACKSMITH 2

Abstract

This Multigenre Research Paper offers an insight into the modern world of blacksmithing. The

paper will include seven different genres, in order: Encyclopedia entries, poem, narrative

reflection, G-Code, infographic, critique, and a letter to the reader. Through these genres, the

reader will be presented with a brief glance into the tradition of blacksmithing from an amateur

enthusiast. While the scope of this paper is much too narrow to be able to illustrate a detailed

overview of blacksmithing, it instead focuses on some of the findings and projects of a single

blacksmith. Due to the unique styles of the genres, some formal aspects of APA style guidelines

will be overlooked. Additionally, sources have been cited according to genre and are

parenthetically cited as a superscript attached to the level 1 headings.

THE HUMBLE BLACKSMITH 3

The Humble Blacksmith:

An Examination of Amateur Blacksmithing

The art of blacksmithing has always been surrounded by mystery. It is exactly this

mystery that drew me to blacksmithing years ago. The art of forging iron and steel into beautiful

works of art or deadly weapons are war fascinated me. As a blacksmith, I dream of crafting

magnificent swords that are indestructible and other fantastical objects, but I have learned that

these dreams are only dreams. The world of the blacksmith is hot, smelly, and brutal. There are

many days in which I will forge until I cannot swing a hammer any longer from lack of strength.

Yet despite all of this, I love blacksmithing more than when I first began with these visions of

grandeur. This love stems from an ancient tradition of blacksmiths who smelted the bronze and

forged the iron that made history. I now take up this tradition. And though I am still only an

amateur, nothing more than a humble blacksmith, I forge on because I refuse to let this tradition,

my tradition, die without a fight.

Encyclopedia1

Fuel

Clinkers:

Clinkers are the solidified impurities left behind when coal is burned into coke. These

impurities are problematic because they can choke the air supply from the blower into the

firepot. Clinkers can be identified by their bubbled, brittle texture with a heavier weight

to size ratio.

Coal:

Coal is the typical fuel used by blacksmiths to heat the crafting piece. There are four

general types of coal: peat, lignite, bituminous, and anthracite, though blacksmiths only
THE HUMBLE BLACKSMITH 4

utilize bituminous and anthracite. Coal can be identified by its blocky form with an

equivalent weight to size ratio.

Coke:

Coke is the primary source of fuel from coal. While coal is composed of a variety of

impurities, such as sulfur, coke is the purified form of coal that results from the burning

of coal. Coke can be identified by its chalking texture with a lighter weight to size ratio.

Seen from left to right:

Bituminous coal

Coke

Clinker

Propane:

Propane is becoming more and more common to the modern blacksmith. There are a

variety of facts that have led to propanes prominence in blacksmithing, such as: price,

availability, cleaner burning, and its ability to provide a more even heat to the crafting

piece.

Materials

Cast Iron:
THE HUMBLE BLACKSMITH 5

Despite the misnomer, cast iron is actually made out of steel. Because of its porous

structure, cast iron is very ridged but is also able to resist higher temperatures more

effectively than normal steel. For a blacksmith, cast iron is most often used as a crucible.

Hard Steel:

Hard steel possesses more carbon than mild steel. This increase of carbon means that

hard steel can be hardened more effectively than mild steel and is therefore more suitable

for creating weapons.

Iron:

Iron is main component of steel and was utilized by ancient blacksmiths. In modern

times, iron is rarely used and even rather difficult to come by.

Mild Steel:

Mild steel possesses less carbon than hard steel. This lack of carbon means that mild steel

cannot be hardened as effectively as hard steel and is therefore less suitable for creating

weapons.

Railroad Spike:

A railroad spike has become the staple material for

many blacksmiths to practice on. Their relative

abundance, due to the changing of railroad tracks,

makes them especially cheap. While the type steel is

often ambiguous (but most often mild), the railroad

spike can still be made into a variety of pieces, such as: knives, axes, and a variety of

tools.
THE HUMBLE BLACKSMITH 6

Rebar:

Rebar is mild steel that is often used to increase the

structural composition of concrete. For a blacksmith,

rebar is an extremely inexpensive steel that can be

quickly cut for small projects. One such project that

rebar is often employed for is the creation of hooks,

such as a J-Hook.

Steel:

Steel is the modern equivalent to the medieval metal of iron. Created by combining

carbon with iron, steel enjoys a much stronger compositional structure. Steel is the

dominant material used by any blacksmith and comes in a variety of types.

Techniques and Terminology

Bending:

Bending is a technique that involves bending the stock. This technique is often

accomplished on the horn of the anvil and is a cornerstone of blacksmithing techniques.

THE HUMBLE BLACKSMITH 7

Casting:

Casting is a technique that involves pouring molten metal into a mold to create intricate

objects not normally forged.

Coating:

Coating is a technique that involves coving a finished crafting piece with some sort of

protectant to prevent rusting. Coatings can include oil, linseed oil, beeswax, or any

combination of materials.

Facing:

Facing is a technique that involves stepping a section of the stock material down.

Essentially, this technique thins a section of the stock so that it can be more easily

punched. It also plays an important role in forging tongs.

THE HUMBLE BLACKSMITH 8

Forge Welding:

Forge welding is a technique that predates modern welding. It involves heating two

pieces of steel near their melting point (observable by sparks flying from the stock) and

then striking them together until they fuse into one solid piece of steel. This technique has

been invaluable to historical blacksmiths, as it is how common tools such as chains were

made.

Punching:

Punching is a technique that involves

driving a punch through the stock

material to create a hole. Punching has a

variety of purposes including holes for

mounting, riveting, and design.

THE HUMBLE BLACKSMITH 9

Quenching:

Quenching is a technique that involves submerging metal into either water or oil once it

has reached the Curie Point. When heated to the Curie Point, steel loses its magnetic

property (allowing for easy identification). When steel that has reached its Curie Point is

quickly submerged in water or oil, the steel quickly hardens and becomes very hard and

brittle. While the brittleness of the steel is a drawback, the hardness of the steel now

allows blades to maintain a razor-sharp edge much longer than usual.

Scrolling:

Scrolling is a technique that involves bending the end of the stock in a circular fashion.

Scrolling is often used on a tapered end and generally only serves an ornamental

function.

Squaring:

Squaring is a technique that involves turning stock of various shapes into a

square/rectangular shape. This technique should not affect the length of the piece, but it is

common to increase the length slightly through the process of squaring.

Tapering:
THE HUMBLE BLACKSMITH 10

Tapering is a technique that involves bring an end of the stock down to a point. The shape

of the stock makes little difference in the tapering process, as rounded stock will create a

cone and tapered and squared stock will create a pyramid.

Tempering:

Tempering is a technique that involves slowly heating quenched and hardened steel until

it ideally loses its brittleness but retains the majority of its hardness. This is a very

delicate process, as heating the steel too much results in the loss of the hardness of the

steel. For blades, the sharp edge of the blade should be heated until it turns a golden

color, while the spine of the blade may be heated to more of a purple heat. This will

ensure that the spine of the blade is not brittle and can resist shattering, while the edge

remains razor-sharp.

Twisting:

Twisting is a technique that involves securing the bottom of the stock into a vise and

wrenching the top of the stock. There are a wide variety of types of twists and generally

only serve an ornamental purpose.

THE HUMBLE BLACKSMITH 11

Upsetting

Upsetting is a technique that involves shortening the length of the stock by striking it

back on itself. By upsetting the length of the stock, the material will naturally begin to

spread laterally, increasing the width of the stock in the process.

Tools and Equipment

Anvil:

A specialized block of steel used by blacksmiths as a

surface to shape metal into desired shapes. An anvil is

generally composed of specific anatomical features,

including: the horn, face, base, hardie hole, and

pritchel hole.

Anvil Stand:

Often created out of a tree stump but can be

constructed out of metal, the anvil stand provides

height to the anvil and should secure the anvil so that

it does not move after being struck (known as

walking).

Base (Anvil):

The base is the bottom part of the anvil, providing a strong base for distributing the force

of a blow from the hammer.

THE HUMBLE BLACKSMITH 12

Beeswax:

Beeswax is used to coat a crafting piece upon completion to

ensure that the piece does not rust. Beeswax can be mixed with

a variety of other ingredients, such as linseed oil, to create

individual coatings.

Blower:

Originally crafted as bellows by early blacksmiths, the blower is

the modern equivalent that forces air through the firepot and

provides extra fuel to the fire.

Borax:

A chemical detergent used to clean a crafting piece before forge

welding.

Crucible:

Constructed out of cast iron, a crucible is used to melt metals so that they can be cast in a

mold. While a normal cast iron crucible is able to melt metals with a lower melting point

than steel, such as aluminum, brass, and bronze, metals with higher melting points,

including steel, require special crucibles either composed of different metals or cast iron

coated in a refractory material.

THE HUMBLE BLACKSMITH 13

Face (Anvil):

The face is the flat, rectangular surface on the top of the anvil, constructed out of

hardened steel in order to withstand the repeated strikes from the hammer.

Firepot:

The firepot is constructed out of cast iron and used to hold the

coal. The firepot contains a tube that leads out the bottom that

serves both to allow air from the blower to reach the fire, as

well as allow clickers to evacuate the heating area.

Forge:

Often constructed out of steel, stone, or brick, the forge is used as a base for the firepot as

well as a general holder of tools and fuel.

Hammer:

A hammer is used to strike the crafting piece to form it

into the desired shape.

Hardie Hole (Anvil):

A square hole used to hold a variety of tools for the blacksmith.

THE HUMBLE BLACKSMITH 14

Hardie Hole Tool:

Any tool with a square base that can fit inside a hardie hole.

Horn (Anvil):

The horn is the conical projection on the anvil used to bend metal.

(Magnetic) Assistant:

Often created based upon a

blacksmiths individual preference,

an assistant serves the purpose of

holding a crafting piece without the

use of tongs, thus freeing both of the

blacksmiths hands for techniques

such as punching.

Pritchel Hole (Anvil):

A small, circular hole at the opposite end of the horn, used to provide a base and hole for

punching a crafting piece.

Punch:

The punch is used to punch holes in a crafting piece, often for the purpose of mounting.
THE HUMBLE BLACKSMITH 15

Tongs:

Tongs are used by a blacksmith to hold the crafting piece when it is too hot to hold by

hand. Tongs come in a variety of shapes and sizes and each have a designated purpose.

Vise:

A vise is used to provide a sturdier hold on a crafting piece

than tongs are able to provide.

Wire Brush:

The wire brush is used to clean the crafting piece from slag before delicate work such as

forge welding or coating.

THE HUMBLE BLACKSMITH 16

Three Hs Poem2

To strike, and forge, and forge, and strike.

All one needs are Three Hs might.

One to hit,

One to hold,

One to Heat,

That's all foretold.

The first of lessons that one should know.

An Arkansas Blacksmith divulged it so.

An anvil and hammer,

A tong and vise,

Coal and propane,

That shall suffice.

Narrative Reflection3

I am a member of the Saltfork Craftsmen Artist-Blacksmith Association (SCABA) in

Oklahoma. The first meeting I ever attended of this organization was a workshop in September,

2016. Before this workshop, my experience with blacksmiths had been superficial at best. I had

recently met a few blacksmiths at a meeting in Arkansas, as well as various blacksmiths

employed at Silver Dollar City in Branson, Missouri, but none of this could compare to my first

meeting with SCABA. This is my story.

The day began early. At approximately six in the morning, my father and I had rose and

began to ready the truck to leave. We had a long drive between us and Webbers Falls, and the

meeting was said to begin promptly at eight. While I did not quite understand the early time for
THE HUMBLE BLACKSMITH 17

the meeting at that moment, the heat of the midday sun would soon educate me. During the

drive, I was a mix of nervousness and excitement. Finally, I would be interacting with

blacksmiths like myself. I thought of all the techniques and tricks of the trade that they could

teach me, yet I was still nervous about being the outsider. Little did I know how much different I

truly was.

When we had finally reached Webbers Falls, we continued to follow the directions

outside of town and into the country. After a multitude of dirt roads and one rather odd cut back,

we arrived at the home of Eddie. At first glance, Eddies residence has the curb side appeal of a

haunted mansion, complete with vines overgrowing the fence and a gothic style gate that quite

literally creaked when you opened it. At this point, I was more nervous than excited and

definitely ready to call off our expedition, but my father drove forth down a long gravel

driveway despite my apprehension. When we finally reached Eddies house and shop, both my

father and I were dumbfounded. The number of handcrafted pieces that ornamented his property

was stupefying. I was dying to survey the rest of the property, but time did not permit it and we

had to quickly shuffle inside so as not to be late. As we entered the shop, my father and I noticed

some striking similarities amongst the blacksmiths of SCABA. First of all, every member of

SCABA is white. While this may not seem to be very significant, it will definitely play a part

later. Secondly, there was not a member of SCABA who was not at least fifty years of age or

older. Even my father, who was nearing fifty at the time, found himself to be one of the youngest

guests. Therefore, at nineteen years old and without a welding scar on my body, I was definitely

playing the part of the black sheep blacksmith.

As I soon discovered though, I could not have been more wrong. Almost immediately the

blacksmiths of SCABA flocked to meet us. Each of them shook my hand and personally
THE HUMBLE BLACKSMITH 18

welcomed me to the association, while the treasurer of the association assisted us in signing up. I

had severely underestimated the connotations of my youth. I was not perceived as an outsider, or

some punk of the millennial generation. No! I was seen as the next generation of blacksmith. It

was at this moment that I learned one of the heartstrings of modern blacksmithing. Due to the

obscurity of blacksmithing to my generation, the number of blacksmiths left in the world are

dwindling. Therefore, these seasoned blacksmiths are keenly aware of the importance of infusing

new lifeblood to continue the tradition they have dedicated their lives to. After introductions and

some small talk, the workshop began slightly behind schedule.

The purpose for this particular workshop was restoring an old anvil. Over time, despite

the hardened face on anvils, repeated blows can break down and chip the anvil, especially around

the edges. The anvil that was donated for the demonstration was in a very poor state. The most

obvious wound was a massive chunk of hardened steel missing from a corner of the face near the

horn. To an amateur like myself, the damage to the anvil appeared irrevocable, but to the

seasoned blacksmiths of SCABA, the damage to the anvil was simply a challenge. The

proficiency of the blacksmiths of SCABA was profound. Within a few short hours, the

blacksmiths had welded the anvil face back to its original shape. Additionally, the blacksmiths

welded using hardened welding rod (the same rod used to weld railroad tracks!), so the anvil was

not as structural functional as it looked. After the demonstration, Eddie was eager to give my

father and I the grand tour of his property, and I was equally eager to oblige him.

Eddie had been a blacksmith since his youth. Making his living between a combination of

blacksmithing and welding, Eddie property revealed his expertise in both. The first piece that

Eddie showed us was his fence. While from a distance is appeared to be an elaborate ornamental

fence, I was taken aback by just how much detail Eddie had infused into the fence. While the
THE HUMBLE BLACKSMITH 19

structure of the pipe fence was fairly standard, Eddie had welded in a variety of objects into the

fence to create a mosaic. Each section appeared to have a theme; one section was filled with old

wrenches, while another was filled with saw blade. The fence was simply beautiful and

undoubtable worth a small fortune. Additionally, Eddie owned a collection of anvils that

numbered into the hundreds. With each anvil being worth several hundred dollars apiece,

Eddies collection most likely was worth hundreds of thousands of dollars. The immense number

of anvils lead Eddie to become quite creative with them as well, as the wind chime outside of his

shop was created with hanging anvils! During his tour, I also learned much about Eddie himself.

Eddie is an interesting character to say the least. Never being married due to his

preference to remain a bachelor, Eddie nonetheless has six children and over ten grandchildren.

Eddie is very particular as to how he is referred as well. First off, Eddie stands on no ceremony

whatsoever, and would allow me to call him by no other name except Eddie (thus the reasoning

behind my informal references to him throughout this narrative reflection). Additionally, as a

blacksmith, Eddie does not take kindly to being called an artist (which he connotes as being a

little fruity). He prefers terms such as craftsman and simply blacksmith. Furthermore, Eddie also

possesses a few racial stereotypes that I do not care to go into. Needless to say, I feel as though

my welcome would have been far different had my skin color been any darker. Despite his

outdated and bigamous views though, Eddie was an excellent host and model blacksmith. I look

forward to meeting with him again and seeing more of his masterful crafting pieces.

CDC G-Code5

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THE HUMBLE BLACKSMITH 20

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THE HUMBLE BLACKSMITH 21

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THE HUMBLE BLACKSMITH 22

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N301 X.7 N343 X-.9 Y1.05 N430 G41 D1 X-
N302 Y-.7 N344 Y.9 N386 X1.05 1.2 F15.
N303 X-.7 N345 X-.85 Y.85 N387 Y-1.05 N431 X1.2
N304 Y.7 N346 X.85 N388 X-1.05 N432 Y-1.2
N305 G40 Y.95 N347 Y-.85 N389 Y1.05 N433 X-1.2
N306 G00 Z.2 N348 X-.85 N390 X-1. Y1. N434 Y1.2
N307 X-1.45 Y1.2 N349 Y.85 N391 X1. N435 X-1.15
N308 Z-.15 N350 X-.8 Y.8 N392 Y-1. Y1.15
THE HUMBLE BLACKSMITH 23

N436 X1.15 N481 X.7 N523 X-.9 N565 X-1.05

N437 Y-1.15 N482 Y-.7 N524 Y.9 Y1.05
N438 X-1.15 N483 X-.7 N525 X-.85 Y.85 N566 X1.05
N439 Y1.15 N484 Y.7 N526 X.85 N567 Y-1.05
N440 X-1.1 Y1.1 N485 G40 Y.95 N527 Y-.85 N568 X-1.05
N441 X1.1 N486 G00 Z.2 N528 X-.85 N569 Y1.05
N442 Y-1.1 N487 X-1.45 Y1.2 N529 Y.85 N570 X-1. Y1.
N443 X-1.1 N488 Z-.3 N530 X-.8 Y.8 N571 X1.
N444 Y1.1 N489 G01 Z-.45 N531 X.8 N572 Y-1.
N445 X-1.05 F28.75 N532 Y-.8 N573 X-1.
Y1.05 N490 G41 D1 X- N533 X-.8 N574 Y1.
N446 X1.05 1.2 F15. N534 Y.8 N575 X-.95 Y.95
N447 Y-1.05 N491 X1.2 N535 X-.75 Y.75 N576 X.95
N448 X-1.05 N492 Y-1.2 N536 X.75 N577 Y-.95
N449 Y1.05 N493 X-1.2 N537 Y-.75 N578 X-.95
N450 X-1. Y1. N494 Y1.2 N538 X-.75 N579 Y.95
N451 X1. N495 X-1.15 N539 Y.75 N580 X-.9 Y.9
N452 Y-1. Y1.15 N540 X-.7 Y.7 N581 X.9
N453 X-1. N496 X1.15 N541 X.7 N582 Y-.9
N454 Y1. N497 Y-1.15 N542 Y-.7 N583 X-.9
N455 X-.95 Y.95 N498 X-1.15 N543 X-.7 N584 Y.9
N456 X.95 N499 Y1.15 N544 Y.7 N585 X-.85 Y.85
N457 Y-.95 N500 X-1.1 Y1.1 N545 G40 Y.95 N586 X.85
N458 X-.95 N501 X1.1 N546 G00 Z.2 N587 Y-.85
N459 Y.95 N502 Y-1.1 N547 X-1.45 Y1.2 N588 X-.85
N460 X-.9 Y.9 N503 X-1.1 N548 Z-.35 N589 Y.85
N461 X.9 N504 Y1.1 N549 G01 Z-.5 N590 X-.8 Y.8
N462 Y-.9 N505 X-1.05 F28.75 N591 X.8
N463 X-.9 Y1.05 N550 G41 D1 X- N592 Y-.8
N464 Y.9 N506 X1.05 1.2 F15. N593 X-.8
N465 X-.85 Y.85 N507 Y-1.05 N551 X1.2 N594 Y.8
N466 X.85 N508 X-1.05 N552 Y-1.2 N595 X-.75 Y.75
N467 Y-.85 N509 Y1.05 N553 X-1.2 N596 X.75
N468 X-.85 N510 X-1. Y1. N554 Y1.2 N597 Y-.75
N469 Y.85 N511 X1. N555 X-1.15 N598 X-.75
N470 X-.8 Y.8 N512 Y-1. Y1.15 N599 Y.75
N471 X.8 N513 X-1. N556 X1.15 N600 X-.7 Y.7
N472 Y-.8 N514 Y1. N557 Y-1.15 N601 X.7
N473 X-.8 N515 X-.95 Y.95 N558 X-1.15 N602 Y-.7
N474 Y.8 N516 X.95 N559 Y1.15 N603 X-.7
N475 X-.75 Y.75 N517 Y-.95 N560 X-1.1 Y1.1 N604 Y.7
N476 X.75 N518 X-.95 N561 X1.1 N605 G40 Y.95
N477 Y-.75 N519 Y.95 N562 Y-1.1 N606 G00 Z.2
N478 X-.75 N520 X-.9 Y.9 N563 X-1.1 N607 X-1.45 Y1.2
N479 Y.75 N521 X.9 N564 Y1.1 N608 Z-.4
N480 X-.7 Y.7 N522 Y-.9
THE HUMBLE BLACKSMITH 24

N609 G01 Z-.55 N651 X.8 N693 X-1. N736 X1.15

F28.75 N652 Y-.8 N694 Y1. N737 Y-1.15
N610 G41 D1 X- N653 X-.8 N695 X-.95 Y.95 N738 X-1.15
1.2 F15. N654 Y.8 N696 X.95 N739 Y1.15
N611 X1.2 N655 X-.75 Y.75 N697 Y-.95 N740 X-1.1 Y1.1
N612 Y-1.2 N656 X.75 N698 X-.95 N741 X1.1
N613 X-1.2 N657 Y-.75 N699 Y.95 N742 Y-1.1
N614 Y1.2 N658 X-.75 N700 X-.9 Y.9 N743 X-1.1
N615 X-1.15 N659 Y.75 N701 X.9 N744 Y1.1
Y1.15 N660 X-.7 Y.7 N702 Y-.9 N745 X-1.05
N616 X1.15 N661 X.7 N703 X-.9 Y1.05
N617 Y-1.15 N662 Y-.7 N704 Y.9 N746 X1.05
N618 X-1.15 N663 X-.7 N705 X-.85 Y.85 N747 Y-1.05
N619 Y1.15 N664 Y.7 N706 X.85 N748 X-1.05
N620 X-1.1 Y1.1 N665 G40 Y.95 N707 Y-.85 N749 Y1.05
N621 X1.1 N666 G00 Z.2 N708 X-.85 N750 X-1. Y1.
N622 Y-1.1 N667 X-1.45 Y1.2 N709 Y.85 N751 X1.
N623 X-1.1 N668 Z-.45 N710 X-.8 Y.8 N752 Y-1.
N624 Y1.1 N669 G01 Z-.6 N711 X.8 N753 X-1.
N625 X-1.05 F28.75 N712 Y-.8 N754 Y1.
Y1.05 N670 G41 D1 X- N713 X-.8 N755 X-.95 Y.95
N626 X1.05 1.2 F15. N714 Y.8 N756 X.95
N627 Y-1.05 N671 X1.2 N715 X-.75 Y.75 N757 Y-.95
N628 X-1.05 N672 Y-1.2 N716 X.75 N758 X-.95
N629 Y1.05 N673 X-1.2 N717 Y-.75 N759 Y.95
N630 X-1. Y1. N674 Y1.2 N718 X-.75 N760 X-.9 Y.9
N631 X1. N675 X-1.15 N719 Y.75 N761 X.9
N632 Y-1. Y1.15 N720 X-.7 Y.7 N762 Y-.9
N633 X-1. N676 X1.15 N721 X.7 N763 X-.9
N634 Y1. N677 Y-1.15 N722 Y-.7 N764 Y.9
N635 X-.95 Y.95 N678 X-1.15 N723 X-.7 N765 X-.85 Y.85
N636 X.95 N679 Y1.15 N724 Y.7 N766 X.85
N637 Y-.95 N680 X-1.1 Y1.1 N725 G40 Y.95 N767 Y-.85
N638 X-.95 N681 X1.1 N726 G00 Z.2 N768 X-.85
N639 Y.95 N682 Y-1.1 N727 X-1.45 Y1.2 N769 Y.85
N640 X-.9 Y.9 N683 X-1.1 N728 Z-.5 N770 X-.8 Y.8
N641 X.9 N684 Y1.1 N729 G01 Z-.65 N771 X.8
N642 Y-.9 N685 X-1.05 F28.75 N772 Y-.8
N643 X-.9 Y1.05 N730 G41 D1 X- N773 X-.8
N644 Y.9 N686 X1.05 1.2 F15. N774 Y.8
N645 X-.85 Y.85 N687 Y-1.05 N731 X1.2 N775 X-.75 Y.75
N646 X.85 N688 X-1.05 N732 Y-1.2 N776 X.75
N647 Y-.85 N689 Y1.05 N733 X-1.2 N777 Y-.75
N648 X-.85 N690 X-1. Y1. N734 Y1.2 N778 X-.75
N649 Y.85 N691 X1. N735 X-1.15 N779 Y.75
N650 X-.8 Y.8 N692 Y-1. Y1.15 N780 X-.7 Y.7
THE HUMBLE BLACKSMITH 25

N781 X.7 N823 X-.9 N865 X-1.05 N909 G01 Z-.8

N782 Y-.7 N824 Y.9 Y1.05 F28.75
N783 X-.7 N825 X-.85 Y.85 N866 X1.05 N910 G41 D1 X-
N784 Y.7 N826 X.85 N867 Y-1.05 1.2 F15.
N785 G40 Y.95 N827 Y-.85 N868 X-1.05 N911 X1.2
N786 G00 Z.2 N828 X-.85 N869 Y1.05 N912 Y-1.2
N787 X-1.45 Y1.2 N829 Y.85 N870 X-1. Y1. N913 X-1.2
N788 Z-.55 N830 X-.8 Y.8 N871 X1. N914 Y1.2
N789 G01 Z-.7 N831 X.8 N872 Y-1. N915 X-1.15
F28.75 N832 Y-.8 N873 X-1. Y1.15
N790 G41 D1 X- N833 X-.8 N874 Y1. N916 X1.15
1.2 F15. N834 Y.8 N875 X-.95 Y.95 N917 Y-1.15
N791 X1.2 N835 X-.75 Y.75 N876 X.95 N918 X-1.15
N792 Y-1.2 N836 X.75 N877 Y-.95 N919 Y1.15
N793 X-1.2 N837 Y-.75 N878 X-.95 N920 X-1.1 Y1.1
N794 Y1.2 N838 X-.75 N879 Y.95 N921 X1.1
N795 X-1.15 N839 Y.75 N880 X-.9 Y.9 N922 Y-1.1
Y1.15 N840 X-.7 Y.7 N881 X.9 N923 X-1.1
N796 X1.15 N841 X.7 N882 Y-.9 N924 Y1.1
N797 Y-1.15 N842 Y-.7 N883 X-.9 N925 X-1.05
N798 X-1.15 N843 X-.7 N884 Y.9 Y1.05
N799 Y1.15 N844 Y.7 N885 X-.85 Y.85 N926 X1.05
N800 X-1.1 Y1.1 N845 G40 Y.95 N886 X.85 N927 Y-1.05
N801 X1.1 N846 G00 Z.2 N887 Y-.85 N928 X-1.05
N802 Y-1.1 N847 X-1.45 Y1.2 N888 X-.85 N929 Y1.05
N803 X-1.1 N848 Z-.6 N889 Y.85 N930 X-1. Y1.
N804 Y1.1 N849 G01 Z-.75 N890 X-.8 Y.8 N931 X1.
N805 X-1.05 F28.75 N891 X.8 N932 Y-1.
Y1.05 N850 G41 D1 X- N892 Y-.8 N933 X-1.
N806 X1.05 1.2 F15. N893 X-.8 N934 Y1.
N807 Y-1.05 N851 X1.2 N894 Y.8 N935 X-.95 Y.95
N808 X-1.05 N852 Y-1.2 N895 X-.75 Y.75 N936 X.95
N809 Y1.05 N853 X-1.2 N896 X.75 N937 Y-.95
N810 X-1. Y1. N854 Y1.2 N897 Y-.75 N938 X-.95
N811 X1. N855 X-1.15 N898 X-.75 N939 Y.95
N812 Y-1. Y1.15 N899 Y.75 N940 X-.9 Y.9
N813 X-1. N856 X1.15 N900 X-.7 Y.7 N941 X.9
N814 Y1. N857 Y-1.15 N901 X.7 N942 Y-.9
N815 X-.95 Y.95 N858 X-1.15 N902 Y-.7 N943 X-.9
N816 X.95 N859 Y1.15 N903 X-.7 N944 Y.9
N817 Y-.95 N860 X-1.1 Y1.1 N904 Y.7 N945 X-.85 Y.85
N818 X-.95 N861 X1.1 N905 G40 Y.95 N946 X.85
N819 Y.95 N862 Y-1.1 N906 G00 Z.2 N947 Y-.85
N820 X-.9 Y.9 N863 X-1.1 N907 X-1.45 Y1.2 N948 X-.85
N821 X.9 N864 Y1.1 N908 Z-.65 N949 Y.85
N822 Y-.9 N950 X-.8 Y.8
THE HUMBLE BLACKSMITH 26

N951 X.8 N993 X-1. N1035 X-1.15 N1079 Y.75

N952 Y-.8 N994 Y1. Y1.15 N1080 X-.7 Y.7
N953 X-.8 N995 X-.95 Y.95 N1036 X1.15 N1081 X.7
N954 Y.8 N996 X.95 N1037 Y-1.15 N1082 Y-.7
N955 X-.75 Y.75 N997 Y-.95 N1038 X-1.15 N1083 X-.7
N956 X.75 N998 X-.95 N1039 Y1.15 N1084 Y.7
N957 Y-.75 N999 Y.95 N1040 X-1.1 Y1.1 N1085 G40 Y.95
N958 X-.75 N1000 X-.9 Y.9 N1041 X1.1 N1086 G00 Z.2
N959 Y.75 N1001 X.9 N1042 Y-1.1 N1087 X-1.45
N960 X-.7 Y.7 N1002 Y-.9 N1043 X-1.1 Y1.2
N961 X.7 N1003 X-.9 N1044 Y1.1 N1088 Z-.8
N962 Y-.7 N1004 Y.9 N1045 X-1.05 N1089 G01 Z-.95
N963 X-.7 N1005 X-.85 Y.85 Y1.05 F28.75
N964 Y.7 N1006 X.85 N1046 X1.05 N1090 G41 D1 X-
N965 G40 Y.95 N1007 Y-.85 N1047 Y-1.05 1.2 F15.
N966 G00 Z.2 N1008 X-.85 N1048 X-1.05 N1091 X1.2
N967 X-1.45 Y1.2 N1009 Y.85 N1049 Y1.05 N1092 Y-1.2
N968 Z-.7 N1010 X-.8 Y.8 N1050 X-1. Y1. N1093 X-1.2
N969 G01 Z-.85 N1011 X.8 N1051 X1. N1094 Y1.2
F28.75 N1012 Y-.8 N1052 Y-1. N1095 X-1.15
N970 G41 D1 X- N1013 X-.8 N1053 X-1. Y1.15
1.2 F15. N1014 Y.8 N1054 Y1. N1096 X1.15
N971 X1.2 N1015 X-.75 Y.75 N1055 X-.95 Y.95 N1097 Y-1.15
N972 Y-1.2 N1016 X.75 N1056 X.95 N1098 X-1.15
N973 X-1.2 N1017 Y-.75 N1057 Y-.95 N1099 Y1.15
N974 Y1.2 N1018 X-.75 N1058 X-.95 N1100 X-1.1 Y1.1
N975 X-1.15 N1019 Y.75 N1059 Y.95 N1101 X1.1
Y1.15 N1020 X-.7 Y.7 N1060 X-.9 Y.9 N1102 Y-1.1
N976 X1.15 N1021 X.7 N1061 X.9 N1103 X-1.1
N977 Y-1.15 N1022 Y-.7 N1062 Y-.9 N1104 Y1.1
N978 X-1.15 N1023 X-.7 N1063 X-.9 N1105 X-1.05
N979 Y1.15 N1024 Y.7 N1064 Y.9 Y1.05
N980 X-1.1 Y1.1 N1025 G40 Y.95 N1065 X-.85 Y.85 N1106 X1.05
N981 X1.1 N1026 G00 Z.2 N1066 X.85 N1107 Y-1.05
N982 Y-1.1 N1027 X-1.45 N1067 Y-.85 N1108 X-1.05
N983 X-1.1 Y1.2 N1068 X-.85 N1109 Y1.05
N984 Y1.1 N1028 Z-.75 N1069 Y.85 N1110 X-1. Y1.
N985 X-1.05 N1029 G01 Z-.9 N1070 X-.8 Y.8 N1111 X1.
Y1.05 F28.75 N1071 X.8 N1112 Y-1.
N986 X1.05 N1030 G41 D1 X- N1072 Y-.8 N1113 X-1.
N987 Y-1.05 1.2 F15. N1073 X-.8 N1114 Y1.
N988 X-1.05 N1031 X1.2 N1074 Y.8 N1115 X-.95 Y.95
N989 Y1.05 N1032 Y-1.2 N1075 X-.75 Y.75 N1116 X.95
N990 X-1. Y1. N1033 X-1.2 N1076 X.75 N1117 Y-.95
N991 X1. N1034 Y1.2 N1077 Y-.75 N1118 X-.95
N992 Y-1. N1078 X-.75 N1119 Y.95
THE HUMBLE BLACKSMITH 27

N1120 X-.9 Y.9 N1162 Y-1.1 N1207 X-1.45 N1248 X-.85

N1121 X.9 N1163 X-1.1 Y1.2 N1249 Y.85
N1122 Y-.9 N1164 Y1.1 N1208 Z-.9 N1250 X-.8 Y.8
N1123 X-.9 N1165 X-1.05 N1209 G01 Z- N1251 X.8
N1124 Y.9 Y1.05 1.05 F28.75 N1252 Y-.8
N1125 X-.85 Y.85 N1166 X1.05 N1210 G41 D1 X- N1253 X-.8
N1126 X.85 N1167 Y-1.05 1.2 F15. N1254 Y.8
N1127 Y-.85 N1168 X-1.05 N1211 X1.2 N1255 X-.75 Y.75
N1128 X-.85 N1169 Y1.05 N1212 Y-1.2 N1256 X.75
N1129 Y.85 N1170 X-1. Y1. N1213 X-1.2 N1257 Y-.75
N1130 X-.8 Y.8 N1171 X1. N1214 Y1.2 N1258 X-.75
N1131 X.8 N1172 Y-1. N1215 X-1.15 N1259 Y.75
N1132 Y-.8 N1173 X-1. Y1.15 N1260 X-.7 Y.7
N1133 X-.8 N1174 Y1. N1216 X1.15 N1261 X.7
N1134 Y.8 N1175 X-.95 Y.95 N1217 Y-1.15 N1262 Y-.7
N1135 X-.75 Y.75 N1176 X.95 N1218 X-1.15 N1263 X-.7
N1136 X.75 N1177 Y-.95 N1219 Y1.15 N1264 Y.7
N1137 Y-.75 N1178 X-.95 N1220 X-1.1 Y1.1 N1265 G40 Y.95
N1138 X-.75 N1179 Y.95 N1221 X1.1 N1266 G00 Z.2
N1139 Y.75 N1180 X-.9 Y.9 N1222 Y-1.1 N1267 X-1.45
N1140 X-.7 Y.7 N1181 X.9 N1223 X-1.1 Y1.2
N1141 X.7 N1182 Y-.9 N1224 Y1.1 N1268 Z-.95
N1142 Y-.7 N1183 X-.9 N1225 X-1.05 N1269 G01 Z-1.1
N1143 X-.7 N1184 Y.9 Y1.05 F28.75
N1144 Y.7 N1185 X-.85 Y.85 N1226 X1.05 N1270 G41 D1 X-
N1145 G40 Y.95 N1186 X.85 N1227 Y-1.05 1.2 F15.
N1146 G00 Z.2 N1187 Y-.85 N1228 X-1.05 N1271 X1.2
N1147 X-1.45 N1188 X-.85 N1229 Y1.05 N1272 Y-1.2
Y1.2 N1189 Y.85 N1230 X-1. Y1. N1273 X-1.2
N1148 Z-.85 N1190 X-.8 Y.8 N1231 X1. N1274 Y1.2
N1149 G01 Z-1. N1191 X.8 N1232 Y-1. N1275 X-1.15
F28.75 N1192 Y-.8 N1233 X-1. Y1.15
N1150 G41 D1 X- N1193 X-.8 N1234 Y1. N1276 X1.15
1.2 F15. N1194 Y.8 N1235 X-.95 Y.95 N1277 Y-1.15
N1151 X1.2 N1195 X-.75 Y.75 N1236 X.95 N1278 X-1.15
N1152 Y-1.2 N1196 X.75 N1237 Y-.95 N1279 Y1.15
N1153 X-1.2 N1197 Y-.75 N1238 X-.95 N1280 X-1.1 Y1.1
N1154 Y1.2 N1198 X-.75 N1239 Y.95 N1281 X1.1
N1155 X-1.15 N1199 Y.75 N1240 X-.9 Y.9 N1282 Y-1.1
Y1.15 N1200 X-.7 Y.7 N1241 X.9 N1283 X-1.1
N1156 X1.15 N1201 X.7 N1242 Y-.9 N1284 Y1.1
N1157 Y-1.15 N1202 Y-.7 N1243 X-.9 N1285 X-1.05
N1158 X-1.15 N1203 X-.7 N1244 Y.9 Y1.05
N1159 Y1.15 N1204 Y.7 N1245 X-.85 Y.85 N1286 X1.05
N1160 X-1.1 Y1.1 N1205 G40 Y.95 N1246 X.85 N1287 Y-1.05
N1161 X1.1 N1206 G00 Z.2 N1247 Y-.85 N1288 X-1.05
THE HUMBLE BLACKSMITH 28

N1289 Y1.05 N1332 Y-1.2 N1376 X.75 N1417 Y-.95

N1290 X-1. Y1. N1333 X-1.2 N1377 Y-.75 N1418 X-.95
N1291 X1. N1334 Y1.2 N1378 X-.75 N1419 Y.95
N1292 Y-1. N1335 X-1.15 N1379 Y.75 N1420 X-.9 Y.9
N1293 X-1. Y1.15 N1380 X-.7 Y.7 N1421 X.9
N1294 Y1. N1336 X1.15 N1381 X.7 N1422 Y-.9
N1295 X-.95 Y.95 N1337 Y-1.15 N1382 Y-.7 N1423 X-.9
N1296 X.95 N1338 X-1.15 N1383 X-.7 N1424 Y.9
N1297 Y-.95 N1339 Y1.15 N1384 Y.7 N1425 X-.85 Y.85
N1298 X-.95 N1340 X-1.1 Y1.1 N1385 G40 Y.95 N1426 X.85
N1299 Y.95 N1341 X1.1 N1386 G00 Z.2 N1427 Y-.85
N1300 X-.9 Y.9 N1342 Y-1.1 N1387 X-1.45 N1428 X-.85
N1301 X.9 N1343 X-1.1 Y1.2 N1429 Y.85
N1302 Y-.9 N1344 Y1.1 N1388 Z-1.05 N1430 X-.8 Y.8
N1303 X-.9 N1345 X-1.05 N1389 G01 Z-1.2 N1431 X.8
N1304 Y.9 Y1.05 F28.75 N1432 Y-.8
N1305 X-.85 Y.85 N1346 X1.05 N1390 G41 D1 X- N1433 X-.8
N1306 X.85 N1347 Y-1.05 1.2 F15. N1434 Y.8
N1307 Y-.85 N1348 X-1.05 N1391 X1.2 N1435 X-.75 Y.75
N1308 X-.85 N1349 Y1.05 N1392 Y-1.2 N1436 X.75
N1309 Y.85 N1350 X-1. Y1. N1393 X-1.2 N1437 Y-.75
N1310 X-.8 Y.8 N1351 X1. N1394 Y1.2 N1438 X-.75
N1311 X.8 N1352 Y-1. N1395 X-1.15 N1439 Y.75
N1312 Y-.8 N1353 X-1. Y1.15 N1440 X-.7 Y.7
N1313 X-.8 N1354 Y1. N1396 X1.15 N1441 X.7
N1314 Y.8 N1355 X-.95 Y.95 N1397 Y-1.15 N1442 Y-.7
N1315 X-.75 Y.75 N1356 X.95 N1398 X-1.15 N1443 X-.7
N1316 X.75 N1357 Y-.95 N1399 Y1.15 N1444 Y.7
N1317 Y-.75 N1358 X-.95 N1400 X-1.1 Y1.1 N1445 G40 Y.95
N1318 X-.75 N1359 Y.95 N1401 X1.1 N1446 G00 Z.2
N1319 Y.75 N1360 X-.9 Y.9 N1402 Y-1.1 N1447 X-1.45
N1320 X-.7 Y.7 N1361 X.9 N1403 X-1.1 Y1.2
N1321 X.7 N1362 Y-.9 N1404 Y1.1 N1448 Z-1.1
N1322 Y-.7 N1363 X-.9 N1405 X-1.05 N1449 G01 Z-
N1323 X-.7 N1364 Y.9 Y1.05 1.25 F28.75
N1324 Y.7 N1365 X-.85 Y.85 N1406 X1.05 N1450 G41 D1 X-
N1325 G40 Y.95 N1366 X.85 N1407 Y-1.05 1.2 F15.
N1326 G00 Z.2 N1367 Y-.85 N1408 X-1.05 N1451 X1.2
N1327 X-1.45 N1368 X-.85 N1409 Y1.05 N1452 Y-1.2
Y1.2 N1369 Y.85 N1410 X-1. Y1. N1453 X-1.2
N1328 Z-1. N1370 X-.8 Y.8 N1411 X1. N1454 Y1.2
N1329 G01 Z- N1371 X.8 N1412 Y-1. N1455 X-1.15
1.15 F28.75 N1372 Y-.8 N1413 X-1. Y1.15
N1330 G41 D1 X- N1373 X-.8 N1414 Y1. N1456 X1.15
1.2 F15. N1374 Y.8 N1415 X-.95 Y.95 N1457 Y-1.15
N1331 X1.2 N1375 X-.75 Y.75 N1416 X.95 N1458 X-1.15
THE HUMBLE BLACKSMITH 29

N1459 Y1.15 N1504 Y.7 N1545 X-.85 Y.85 N1586 X1.05

N1460 X-1.1 Y1.1 N1505 G40 Y.95 N1546 X.85 N1587 Y-1.05
N1461 X1.1 N1506 G00 Z.2 N1547 Y-.85 N1588 X-1.05
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THE HUMBLE BLACKSMITH 30

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THE HUMBLE BLACKSMITH 31

N1801 X.7 N1807 Z1. N1811 G91 G28

N1802 Y-.7 N1808 M09 Y0. (END OF
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N1806 G00 Z.2 N1813 M30
Running Head: THE HUMBLE BLACKSMITH 32

Infographic4

Step 1:

The first step to forging a J-Hook is to acquire

the right material. I am quite partial to reusing
old material; therefore, I have chosen an old
piece of rebar and cut it to around five inches
(exactness is not necessary). Not only does this
provide a nice starting image to refer to once
we are finished, but some of the striations are
usually persevered in the hook that really give
the piece a flare!

Step 2:

The second step to forging a J-Hook is to

begin heating the stock material. Because of
the massive amount of movement of which
the steel is about to endure, I find it best to
heat the material until it is glowing a very
bright orange. If the material is red, then it has
not been heated to a sufficient temperature,
and while the steel will still move, it will be
harder upon it. If the material is a bright
yellow, then it is beginning to become too hot.
While there is no harm in working yellow
colored steel, it is a fine line from this yellow
heat to a white heat, in which your steel will
begin to melt.
THE HUMBLE BLACKSMITH 33

Step 3:

The third step to forging a J-Hook is to

square the stock material. While this
step is not always necessary (if
beginning with square stock for
instance), I prefer my J-Hooks to have a
square shape. Therefore, by alternating
my strikes in a counterclockwise
direction, I move the material from a
circular shape into a square shape, while
at the same time, elongating the stock to
approximately seven inches.

Step 4:

The fourth step to forging a J-Hook is

relatively quick and simple. By heating
one tip of the rectangular stock, the
blacksmith is able to taper the end
down to a point by angling the strikes
of his hammer. I have found that by
slightly upsetting the material while
tapering, I can keep from elongating the
material unnecessarily and remain
closer to my approximation of seven
inches. This is important for conformity
when fulfilling large orders so that
some J-Hooks are not longer than
others.
THE HUMBLE BLACKSMITH 34

Step 5:

The fifth step to forging a J-Hook is

more simplistic than the last. By lightly
heating the tapered tip created in the last
step, I am able to tap the tapered tip first
over the edge of the anvils edge
downwards. After making a small L
from the tapered end, I can reverse my
strikes to finish curling the end. This
technique is referred to as scrolling, and
while it is a fairly simply technique, the
blacksmith must be cautious so as not to
melt the fragile scroll while heating.

Step 6:

The sixth step to forging a J-Hook is

when the form of the hook begins to take
shape. This step is completed by heating
the end that will be curved, while being
especially careful not to melt the scroll.
What will become the inside of the bend
will then be placed on the horn of the
anvil and bent into the desired radius and
height of the hook. A small trick to
ensure that the scroll is not damaged
during this process is to dip the scroll
into water before bending.
THE HUMBLE BLACKSMITH 35

Step 7:

The seventh step to forging a J-Hook

involves twisting the stem of the hook
180 degrees. To accomplish this, the
hook is set inside a vice so that the scroll
is even with the top of the vice. The
tongs are then attached above where the
twist is meant to be and wrenched
around without stopping. It is important
both to keep track of how many degrees
have been twisted and that the stock has
at least a red heat. If the stock is too
cold, the twist can crack the metal,
ruining the entire project.

Step 8:

The eight step to forging a J-Hook

involves facing the top of the hook. This
technique is employed to make the piece
easier to punch (the next step), and it is
accomplished by placing the hook face
down on the edge of the anvil, ensuring
that only the area being stepped down
remains on the anvil, and striking the
back of the piece to create the step. This
step is difficult for me, because I
continue to make the step down too thin,
which causes aesthetical difficulties.
THE HUMBLE BLACKSMITH 36

Step 9:

The ninth step to forging a J-Hook

involves punching a hold in the stepped
down portion so that that the hook may
be hung. Because of the need to hold
both a hammer and punch, many
blacksmiths employ some sort of
assistant. As you can see at the top of the
photograph, my magnetic assistant was
able to hold the piece in the correct
position so that I could punch the hole
through the pritchel hole.

Step 10:

The tenth and final step to forging a J-

Hook involves coating the hook to
protect it from rusting. While many
blacksmiths utilize a variety of
ingredients to concoct their coatings, I
am partial to simple beeswax. To
accomplish this, I shave some beeswax
off of a block of beeswax and melt it in a
small container. Once melted, the
beeswax is then generously applied to the
piece at a black heat with a rag.
THE HUMBLE BLACKSMITH 37

Finished Product

J-Hook Critique

While the J-Hook project ran relatively smooth, there are a variety of areas in which

improvement is quite necessary. To start, the most glaring problem with the hook is that it is not

straight. While this largely resulted due to time constraints, this is no real excuse, as one extra

heat and a few extra seconds could have resulted in a straighter product. I also lost my place

when twisting the neck of the hook, resulting in a one and a quarter turn instead of a usual one.

Additionally, I realized that my dropdown facing technique is a little overzealous, and that I need

to back off and not strike the material so thin. Consequently, the top of the piece was slightly

melted due to the thinness of the material. Lastly, I am not satisfied with my punch hole. I am not
THE HUMBLE BLACKSMITH 38

too distraught about this flaw though, as I believe I can correct this error by not making the

punch material as thin. As for aspects that I am happy about, the scroll on the end of the hook is

one of the best I have ever done. Normally, this scroll comes out flatter and closed, but I believe

that by pulling more material before the scroll (as I did this time), I am able to overcome this

flaw. I am also happy that I was able to maintain some of the original striations from the rebar.

These striations appear on the inside of the bend, and I believe they add an authentic, recycled

material appearance.

Letter to the Reader

Dear reader,

Throughout this paper, I have presented six genres that pertain, in one way or another, to

blacksmithing. It is now my intention to explain their relevance either to blacksmithing, myself,

or to each other. To begin, I provided an encyclopedia that briefly explained some of the

terminology that I employ throughout this paper. I go slightly beyond the scope of this paper

though when I discuss some more complex aspects such as forge welding, quenching and

tempering, etc. While these are not technically necessary to understanding this paper, they are

nonetheless valuable blacksmithing terminology. In essence, the encyclopedia was included so

that I would not be required to go into extraneous detail in other sections such as the infographic.

The second genre that I created was a poem. While quite short in its compositional length and

without any structured meter or rhyme (I definitely do not consider myself a poet), the poem

describes one of the first lessons that I learned from a blacksmith: that all one needs to begin

blacksmithing is something to hit your material, something to hold your material, and something

to heat your material. The third genre that I created was a narrative reflection. This narrative

reflection follows my first blacksmithing workshop and club meeting with the blacksmithing
THE HUMBLE BLACKSMITH 39

organization Saltfork Craftsmen Artist-Blacksmith Association (SCABA). This workshop not

only taught me how to repair anvils, it taught me the importance of continuing the tradition of

blacksmithing so that it does not disappear forever. This task is something that I took to heart and

has shaped my desire to learn traditional blacksmithing over modern blacksmithing. This being

said, there is definitely a place for modern equipment in blacksmithing, and I exhibited this place

in the fourth genre: CNC G-Code. The pinnacle of modern metal machining, CNC machines are

able to create parts based upon a computer-generated code. The massive code that comprises the

fourth genre is the G-Code needed to machine a blank hardie hole tool. A blank tool means that

the bottom section of the hardie tool has been machined, but the top can still be constructed into

different varieties of hardie tools. I composed this code to demonstrate how the ancient art of

blacksmithing can be combined with modern machining to create tools more efficiently than in

the past. The fifth genre that I created was an infographic that walks demonstrates how to forge a

J-Hook out of a piece of rebar. I composed this piece to exemplify the variety of steps involved

in creating something as simple as a J-Hook. I also included a project that used recycled material

to illustrate my love for creating something new out of the old. The sixth genre that I created was

a critique of the J-Hook that I forged in the fifth genre. I included this quick critique to show how

a blacksmith is never satisfied with their product. This is one of the greatest challenges faced by

blacksmiths: deciding when enough is enough. A common phrase amongst blacksmiths is: What

do you expect of something that is handmade? This question reveals how blacksmiths ultimately

have to stop revising their work because it will never be perfect. Even so, blacksmiths still strive

for perfection, and critiquing ones own work is a great way to recognize faults that can be fixed

next time. Overall, this paper is designed to reveal my love and devotion to blacksmithing. The

art of blacksmithing is a very humbling tradition, painted with the blood, sweat, and tears of
THE HUMBLE BLACKSMITH 40

those who attempt to master it (I apologize for the clich, but in reality, all three are shed in the

pursuit of becoming a blacksmith). It is my hope that by reading this, you can grasp my love for

blacksmithing and maybe grow to love it as well.

Sincerely,

Christian Davis
THE HUMBLE BLACKSMITH 41

References

1. Andrews, J. (1994). New edge of the anvil: a resource book for the blacksmith. Drexel

Hill, PA: Skipjack Press.

2. Custer, D. (2016, July 9). Beginning Blacksmithing. Lecture presented at Blacksmith

Organization of Arkansas July Meeting at 1301 Whispering Pine Rd, Little Rock.

3. McCormick, E. (2016, September 17). Anvil Restoration. Lecture presented at Saltfork

Craftsmen Anvil Restoration Workshop, Webbers Falls.

4. Sims, L. (2009). The backyard blacksmith: traditional techniques for the modern smith.

New York, NY: Crestline.

5. Training Professor & Video Series [Motion picture on DVD]. (2011). United States:

BobCAD-CAM.