With blacksmithing returning to popularity both as a trade and a hobby, a vast variety of classes and courses are now available to teach the would be blacksmith both the basics of the art as well as the finer more advanced aspects. Classes are held both in real time at blacksmith schools and also online. There are also a lot of good books that teach the art of blacksmithing. While all these options have their advantages, Blacksmiths is one of the most hands on of all trades and the best option for most people is to attend a proper blacksmith school with real time learning and practical demonstrations and training.

What ever the type of blacksmith classes you opt for; there are some basic issues that a good course should offer. Given below are some key issues which a Blacksmith training course should cover.

· The theory and fundamentals of the trade
* A favorite of those who enjoy history and where things came from is the history of blacksmithing
· Understanding metal – the qualities and suitability of various metals and alloys for forging
· Safety and health concerns
· Different types of forges and which one is best for which applications
· The basics of heating metal
· Heat treatment of metals
· Hammering techniques and the various types of hammers
· Hot and cold cutting of metal
· Drawing out  and drawing down metals
· Spreading
· Using a swage block
· Using a punch
· Twisting and wrapping of forged stock
· Tapering
· Twisting, reverse twisting and upsetting
· Using Oxy/Acetylene torches
· The art of scroll making
· Welding
· Grinding and surface preparation
· Chain and ring making
· Tong making
· Drifting and slitting bar stock
· Collars and collar stock
· Options for steel finishing
· Using various forging techniques on the same piece
· Practical work in the form of fabricating items such as candle stands, door knockers vases. The kind of practical work will depend on what specific aspect of blacksmithing the course is teaching.

The exact nature of the syllabus will vary from course to course and varying degrees of importance will be given to specific aspects of Blacksmiths , depending on the focus of the classes. In what detail the various aspects of forging are covered will depend on the duration of the course.  What ever the course duration it is important that the classes should contain not just theory but also practical demonstrations and hands on training for the student. Just as the canvas artist needs a feel for the bush and colors he is working with, the blacksmith needs to have a “feel” for the metal he is using and this can only come from hands on experience.

Blacksmithing is actually an art form and therefore its good to remind yourself that there are many different ways to get to the same end. What is taught in a class may be a good way, but it need not necessarily be the only way. A student blacksmith should do as much study on his own as possible and understand the various options in metal working that are available to him. Joining online discussion groups and chat forums will allow the student to exchange ideas with others and broaden his horizon.

Blacksmithing classes are the best way to learn the art. But education doesn’t stop there.

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The efficiency of a forge shop is, to a large extent, dictated by how well it is laid out. The movement of heavy metal, handling heated ingots, hammering and quenching are all heavy work, even with the latest equipment. A well laid out blacksmith’s shop will keep these factors in mind when it is planned.

The main area in every blacksmiths work is his shop and the forge is the heart of this shop. If you are looking at a forge that is soley for coal, you may want to note that a coal forge is 100% designed around the heart of the fire. This is the area of maximum heat whose shape can be adjusted, by shifting the burning coals, to suit the needs of the metal being heated. If you look at the fire, its important to think about where the heart of the fire will be because the heart of the fire needs to be the same height as the top of the forge. If it is lower, the Blacksmithing will not be able to pass the metal to be heated through the center of the hottest part of the fire. If it is too high, that is above the level of the forge itself, not only will there be heat loss leading to longer heating times for the metal, but that will also be a danger of burning coals falling out of the forge. The size of the forge must be such that the largest pieces of iron to be heated can be placed directly through the fire without being bent. If the forge is too small, Blacksmithing are often forced to build extra large fires to generate more radiant heat to reach the metal that cannot be placed directly in contact with the fire because of its large size. This wastes large amounts of fuel and also requires more air to be pumped into the forge to maintain the heat and blow it towards the metal. And, of course, this is much slower that direct contact heating.

A well planned forge should match the height of the Blacksmith . If it is too high the blacksmith will have to keep his arms raised while working which can lead to back problems over time. Too low and the blacksmith is constantly bending over the forge which not only will also cause back problems but will allow the heat from the forge to hit him much more than it otherwise would. The ideal height should be somewhere just above the waist level, but this will vary depending on the blacksmiths personal choice. As a general rule the forge height is kept the same as that of the anvil.

The positioning of the air blower is also an important part of the forge plan. Too near and the motor could be affect by the heat. Too far and there will be a pressure loss. Always try and keep the pipe from the blower to the forge straight as bends will reduce the airflow. If the layout of the forge shop requires the blower to be placed in a position where the pipe needs a bend, this should be as gentle a curve as possible.

The forge should be located in such a position that it is easily accessible for cleaning and ash removal. As you can imagine, the forge is a place that gets extremely hot so its good to remember that your forge shop needs to have as good of ventaliation as possible.

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To be able to produce a finished work that is either to a commission specifications or which a sellable, the Blacksmithing needs to be more than just an expert metal worker. Of course his skills are important in the quality and value of the finished product, but to be able to work to his best and be sure that he is making a profit on the project, the blacksmith needs to be able to plan his work and expenses. If the Blacksmith is producing works for sale he needs to:
· Know what are the market rates for equivalent goods
· Ensure that he can match these rates while making a profit for himself.
· Plan on what will make his product unique so that it stands out and attracts customers.
It is the second of these issues that is the most complex and requires a certain amount of both technical and business knowledge.  What is given below in regard to blacksmith plans for commissioned projects will also apply in this case. Commissioned projects are much more complex and require careful planning before they are quoted for and executed. Before undertaking any commissioned project the Blacksmith should ensure that he has planned for taking care of the following issues.

· Study the project in carefully. It is extremely important to remember to take a lot of time ironing out the details because this is where the devil is, as your mom may have told you once or twice. A slight misreading of the metal specifications or the dimensions will not only cause you to offer a wrong quote, but, if the quote is accepted, cause the final product, on which you have spent so much time, effort and money, to be rejected.
· Understand the material costs and if it is a long term project, build in a raw material price escalation clause into your quotation. Escalation is one of those things at first may be very difficult for some clients to understand but if you take the time to explain it to them usually people will get that you aren’t trying to pull a fast one on them.
· Estimate the time you will require for the project. Your time is valuable and every hour spent on the project which is not charged for is a loss. You could have done something profitable in that period. Its best to always have in mind your competition because that is who you will be quoting against and you will need to keep your time frames as tight as possible.
· Plan your around your other work and projects, adjusting them if needed and if possible, to ensure that you are able to meet the deadline you have offered or the client has demanded.
· If the project involves any work that you cannot do yourself but have to sub contract, ensure that your planning includes both the cost and time required for the sub contracted work.
· Depending on the type of project, make detailed drawings or diagrams and have these approved by the client so that there is no misunderstanding of what the finished product will be or will look like.
· Prepare your own time chart for completing the project with stage wise milestones so you are able to ensure that your work is progressing on schedule.

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What constitutes a blacksmith project? The answer is that just about everything a blacksmith makes is a “project.”

A hobbyist or amateur Blacksmithing project can consist of anything from making simple nails to small tools for use in the house or decorative items such as metal coasters or candle stands.

The forge shop will produce commissioned forge metal object that can range from door knobs to hat stands to iron gates, decorative grills and architectural fittings.

A large commercial or industrial sized forge shop will produce machine and automobile parts, oil drilling equipment, aircraft and jet engine components and a vast range of other items.

The blacksmith artist will use his blacksmithing skills to produce works of art or decorative items that can range from small decorations pieces, architectural embellishments or busts and large outdoor sculptures.

All of these qualify as Blacksmith projects. But what does the blacksmith have to know and do to execute them? Some may think that there is something very simple about having an idea and making it out of metal but it is much more complex than that. Here is just a partial list of what the blacksmith needs to know to be able to execute a project successfully.

· Of course, he must be an expert in the art for forging and shaping metal
· He must be a manager who can manage and maintain his forging shop not just in terms of operational efficiency but also of safety and profitability. While the profitability aspect does not directly apply to the amateur blacksmith, understanding the economics of the trade will ensure that the hobby does not involve more expenditure than it should.
· He must know what equipment he should keep available and what kinds of projects he can undertake with the materials he has. If a project requires the procurement of additional equipment he must be able to judge the cost effectiveness of the purchase and the long term utilization of the equipment.
· He must be a materials manager and ensure that all the fuel he needs for the forge and metal the has to work with are available when he needs them
· He must be able to provide estimate of cost, time and materials for any projects he undertakes with the knowledge that his reputation depends on his being able to meet these commitments.
· He must be able to perform the basic maintenance of his equipment himself and also know when to call in experts for repairs that are beyond his abilities.
· He needs to b able to sketch and if necessary, prepare detailed drawings of the project he is planning to undertake to ensure that the finished work meets the required specifications.
· A blacksmith needs to be a good record keeper and have details of all the projects he has done, either in a digital or hard copy form. This is required not only for accounting and audit purposes, but also to provide a prospective client with an assurance that the blacksmith will be able to undertake the proposed work.

These are just a few examples of the things a Blacksmithing needs to be aware of and do to enable him to execute projects successfully. The completed project is just the tail end of a long and complicated process.

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Medieval Blacksmiths has as much influence on shaping the age they lived in as they did on the metals they worked on. Medieval Europe was the time of the first great advancements in science and technology and new practices in farming, fabrication, construction and fighting were constantly being introduced. None of these would have been possible without the blacksmith.

The medieval Blacksmiths first came into being as a part time metal worker. In small settlements scattered all over the continent, a person with the right physique was chosen, or volunteered, to do his best in heating and shaping iron to meet the needs of the community her lived in. This was part time work to be done only when the primary duties were completed. However, as the part time iron worker’s skills kept improving, the demand for these goods also grew and so producing and selling metal work became a profitable profession.

As the settlements grew in size and more blacksmiths set up shop, the first guilds came into being. There guilds where more than just trade unions. They set the basics standards that the blacksmiths would work to and allowed the sharing of knowledge among the members. Although most tradesmen guilds of the time were secretive, the blacksmiths guilds were more so than most because theirs was a trade that not everyone could undertake and which also required specialized knowledge which was kept closely guarded. This gave the medieval blacksmith an important and powerful position in the society of the times. Blacksmiths had a lot of power in that if their cliends did not respect them they may find their swords not holding up or their nails bending.

The guilds adopted the apprentice approach to teaching young men the trade. Boy of 15 or so would be apprenticed to a master blacksmith and would live with him as part student and part servant. The apprentice would do all the cleaning and menial chores in both the forge and, if need be, in the blacksmith’s home. The forge quickly became this person’s home and they would eat, sleep, and work in the forge and also maintain its clean state. Initially he would just observe the master blacksmith at work but slowly, as time passed would be allowed to participate in minor aspects of the forging process until such time as he could perform simple blacksmith jobs on his own. Once the master blacksmith was confident of the apprentice’ skills, he would be given more complex work to do, always under the supervision of his master, until such time as the master was satisfied that the apprentice had learned all that the master could teach, at which time he was allowed to go forth and set up his own forge.

The blacksmith was an important member of society and in times of civil unrest or war was allowed to live and work within the premises of the local castle, which was the most secure place. The army needed it armaments and having their blacksmiths captured or killed by the enemy meant that the army’s ability to fight was severely limited. Blacksmithing was not a glamorous profession in medieval times unlike the writer, artist or knight; but his contribution to the society he lived in was as much, if not more, than those to whom he supplied his goods.

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Although the US became independent of Britain in 1776, the country’s dependence on Britain and Europe for the goods needed to build the new country remained. The country really had a lot of need for overseas shipments because most of the mechanical equipment that was used within the country was imported. With the beginning of the industrial revolution in Britain, the sophistication of the machinery began to increase and so did the cost. Whether the increased costs of this machinery was justified or just a case of a near monopoly supplier using its position to charge exorbitant process is still being debated today. Whatever the reason, the end result was that imported equipment became too expensive to be economical. But since the country needed more and more such goods, from ploughs to printing presses to cannons, the only options was to start manufacturing them domestically. Craftsmen began to make things that till then had been imported. The range of products was vast, from furniture to glass, leather goods, gunpowder to sewing needles and wagon wheels and much more.

The wealthy tended to look down on such craftsmen as being socially inferior to them and none suffered more from this than the Blacksmithing whose forge was hot, dirty, sweaty and full of smoke and soot. The blacksmith himself would usually be covered with the by products of his trade. And yet, the blacksmith was also the most important man in the village. His was an art that not everyone was strong enough to undertake or had the aptitude for. But every other craftsman depended on the blacksmith to provide the tools that were needs for the other crafts to develop.

The Colonial blacksmith’s job revolved around creating and repairing iron tools and implements that were needed in farming, construction and engineering. From ploughs to door hinges to gears and armaments, there was no field of colonial activity where he did not play a part. Becoming a Blacksmiths in colonial times was not easy. Although there were no formal qualifications, a young man had to undergo a long period of apprenticeship until he had learned enough of the trade to start out on his own. A boy usually became an apprentice at the age of 14 or 15 and continue with the apprenticeship until he reached the age of 20 to 22. The apprentice lived in the forge shop and was responsible for it upkeep, cleanliness, lighting the fires each day and all the other chores. As time passed he would begin to help the master blacksmith in minor metal work and as his skills increased he would be given larger roles until such time as he was able to undertake large and complex projects on his own, at which time his apprenticeship was considered to be over.

The colonial Blacksmiths was part of the expansion into and settlement of the interiors of the country. As the population spread westwards, every settlement needed a blacksmith without whom the settlements would not be able to produce or repair the implements they needed to survive. As the settlements grew and more blacksmith set up shop, they diversified their trade from manufacturing the tools of survival to making items of domestic use and for decoration. Relics of colonial blacksmith work show impressive degrees of fine details and adornment.

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“Under the spreading chestnut tree, The village smitty stands….” Although not a book, Longfellow’s famous poem captures the image and spirit of the blacksmith. The way he works and the quality of his products has changed immensely since the poem was written, the image of the blacksmith it conveys is one that many people still hold in their minds today. But like all production processes, that of the Blacksmithing has become very technical and sophisticated and there is today an ever growing list of books, magazines and online articles dedicated to the art of blacksmithing. While the number of books available will fill a reasonably sized library, there are some that may be of interest to the aspiring blacksmith or metal artist.

· Edge of the Anvil by Jack Andrews. Acknowledged by many as one of the best books on the art of the Blacksmithing , starting with the basics and progressing to fairly advanced concepts, theory and practices, this book is written in a style that makes it easy to read and understand, even for someone with no knowledge of blacksmithing. Especially useful for the metal artist, it contains some fairly advanced material including a chapter on how CAD maybe used for designing decorative metal work.
· The Golden Age of Ironwork by Henry Jonas Magaziner. If you are really looking for a history of metal working in America this book will give you just that and more. The book covers the iron industry in Philadelphia in the 19th century. At that time Philadelphia was the center of the country’s metal industry and it was from here that innovative foundries and blacksmiths found new uses for iron both in construction and well as decorative work.
· Practical Blacksmithing, edited by M.T. Richardson- 2 volumes. Made up of 19th century magazine written for a blacksmithing magazine in the 19th century gives a great insight into the passion and drive of the blacksmiths of that time, the technologies that were being introduced (many of which are still in use today) and the hurdles and hardships the industry had to over come.
· Architectural Ironwork by Dona Meilach. This book encompasses the wide variety of decorative iron work and Blacksmith art that has been commissioned in the recent past for both residential as well as commercial buildings. This book is nice because it looks at new styles and practices that have started up today as well as the good old techniques that are coming back in style. A good book for anyone interested in understanding the trends that are influencing modern artistic metal work.
· The Artist Blacksmith by Peter Parkinson. This is not a technical book but a book of photographs of beautiful artistic iron work. Although it may look like a coffee table book, the wonderful pictures are accompanied by detailed technical information that will be invaluable to any aspiring, or even established metal artist.
* Sims wrote a great book called the Backyard Blacksmith. The complete beginner’s book for the amateur blacksmith it contains illustrations and instructions on the making of small tools and household items and well as small decorative pieces.

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It is a common misconception that a Blacksmith relies on his muscles, a forge and a hammer to create his products. The modern blacksmith is a high tech artisan who uses a variety of sophisticated and complex tools and equipment to produce intricate works of metal.  The modern forge shop is a sophisticated manufacturing unit where the old blacksmith in his leather apron and heavy hammer would feel out of place. Among the supplies available to the modern blacksmith are:

· Forges. While many blacksmiths prefer to make their own traditional coal coke fired forges, a range of traditionally fueled and gas or electric forges are available off the shelf. Besides standard designs n a variety of sizes, special forges for the manufacture of specific items, like a knife forge, are also available.
· Anvils. A range of anvils in a variety of sizes and shapes, designed for use in the creation of specific shapes are available. Using different shape specific anvils to create the desired shapes can both reduce the amount of work required in shaping as well as provide for better accuracy and fineness of finish.
· Tongs. In the case of tongs, one size does not fit all. If you can imagine, there are at least over 1,000 tong designs that blacksmiths have to choose from that will help with twisting, turning and holding the metal the exact way the blacksmith needs.
· Hand Hammers. Different sizes of hammers with variously shaped heads are available for the efficient and accurate creation of shapes. Most Blacksmith will have a number of hammers to use depending on what they are trying to achieve. If a blacksmith is looking for a hammer that will give him a certain finish on the metal such as a wood grain or texture he will then use a specalized finishing hammer.
· Power Hammers. Besides the huge industrial size power hammers used in large factories, smaller power hammers of weights ranging from 25 to 500 pounds and above are available for the individual or artist blacksmith.
· Shaping and Cutting Tools. A modern Blacksmith supplies include a variety of shaping swages, punches and chisels which will reduce the time taken in the production process.
* Safety is first and there must be Safety Equipment. Working with hot metal can be dangerous and a good forge shop will be sully equipped with all the required safety supplies. These will include gloves, helmets, goggles and other protective equipment. The shop should also be equipped with fire extinguishers and perhaps even a sprinkler system. And, as in any manufacturing unit, a first aid box should always be available.
· Besides the supplies listed here, the modern blacksmith has the option of using painting, welding and a variety of other equipment, depending on what type of work he is doing.

The first blacksmiths often used their shops to make the tools they needed. While some still do this, there are a vast number of companies today that are dedicated to providing the modern blacksmith all the supplies he needs, from the simplest hammers to the most complex electronically controlled hammers and forges to allow him to use state of the art supplies to produce state of the art products.

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Blacksmith shops are among the world’s first factories. It was in the first blacksmith’s shops that industrial production began. Blacksmith is really more of a re manufacturing process since the initial manufacturing is the production of the metal itself. But it is in the blacksmith’s shop that the raw metal is converted into objects of either functional utility or works of art or often both.

The layout of the basic Blacksmithing shop is usually very simple. In one corner will be the forge. The forge is the hearth which contains a fire, fed by coal or coke that is used to heat the metal until it reaches a temperature where it becomes soft enough to be hammered into shape.  Near the forge will be the coal hopper where the fuel for the fire is stored. The location of the coal hopper is important since the coal has to be stored near enough the fire to allow for easy transfer of the coal from the hopper to the fire as and when more fuel is required. At the same time it should be far enough away to prevent or at least minimize the amount of soot and ash from the hearth reaching the hopper and mixing with the stored coal.

Adjacent to the forge are the bellows. The bellows are an air pump that is used to force air into the forge and increase the heat of the fire. The original bellows were operated by muscle power, whether by the Blacksmithing himself or by an assistant. Today as technology begins to grow, you will see less of the bellows and more of the electric fans and blowers in the shops. Since the amount of air being forced into the fire can be precisely controlled by adjusting the fan speed, accurate temperature control is easier to achieve.

If you think about it, the air needs to be blown into the forge somehow and what does this is the fan that is connected by a pipe to the forge.

Near the forge is usually the tool bench where various tongs needed for moving the hot metal and a variety of hammers used in the shaping process are kept.

To the side of the tool bench will be an anvil or series of anvils of different shapes and sizes where the hot metal after being transferred from the forge by using the tongs, is placed for shaping using the blacksmiths hammers. Adjacent to the anvils will be the quenching trough where metal, after being shaped, is immerse in either water or oil, to cool it.

After quench the metal maybe taken to a vise located near by where it can be securely held while finishing work is done on it.

The artist blacksmith may also have painting and metal coating equipment in his blacksmith shop so that he can complete the artwork before handing over to the customer of offering it for sale.

Blacksmiths shops vary in size, layout and the type and sophistication of equipment that they contain. But what are given above are the basics that are to be found with any blacksmith.

 

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The forge is the heart of the blacksmith’s shop. It is in the forge that the Blacksmithing heats metal until it reaches a temperature and becomes malleable enough for him to use his other equipment to shape it.

The traditional blacksmith’s forge has evolved and become more sophisticated over time, but the basic principles remain unchanged. The most common forge is the one fired by coal, charcoal or coke. In all simplicity, the forge is just a very special fireplace that will heat the metal to exact temperatures depending on what process the blacksmith is in with the metal. The there main parts of the forge are:
· The hearth where the burning coke (or other fuel) is contained and over which the metal is placed and heated.
· The Tuyere which is a pipe leading into the hearth through which air is forced. The strength of the fire and the heat it produces will depend on the amount of air being fed to it through the Tuyere tube.
· The bellows are the mechanism by which air is forced through the Tuyere tube into the hearth. While earlier bellows were pumps operated by muscles power, modern forges have high power fans or bowers to force air into the Tuyere

The Blacksmiths adjusts the mixture of air and fuel in the hearth the produce the exact temperature needed to heat the metal. A traditional blacksmith’s forge will have a flat bottomed hearth with the Tuyere entering it from below. The core of the fire will be a mass of burning coke in the center of the hearth. Around this burning coke will be a wall of hot, but not burning coal. Take a minute to learn because its the wall of coal that serves a dual purpose. It provided insulation and contains and focuses the heat of the fire to a limited area, allowing the blacksmith to heat the metal in a precise manner. The hot coal also becomes transformed in coke which can then be used as fuel for the hearth.

The outer wall of the fire is made up of a layer of raw coal, which is often kept damp so as to control the heat of the inner layer of hot coal so that is may slowly “cook” into coke.

The size of the fire and the heat it produces can be changed by either adding or removing fuel from it as well and adjusting the air flow. What is really interresting is that if you change some of the layers of the coal by changing the shape of it, it actually modifies the shape of the fire.

Many modern Blacksmithing use gas forges. These are fueled by either natural gas or propane. In order to ignite the gas it has to be mixed with air and this is exactly what ends up happening. If you are concerned about how to adjust the temperature, the temperature is adjusted by the pressure that the gas is bed into the hearth. While gas forges are easier to use and require less maintenance and cleaning, the drawback is that, unlike a coal fired forge, the shape of the fire is fixed and cannot be changed to suit the shape and size of the metal being heated.

 

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