Students continue work on a bench vise with three inch wide jaws.
Review of the process:
Striking for each other, they will upset the stock for both jaws and weld high carbon steel on each.
Once the jaws are forged, an eye will be split and drifted below each for the screw and box.
The bench mount will be forged with a tenon to pass through the rear leg below the eye. This tenon will also hold the spring in place.
The bottom bracket may be forged as a plate to be fastened to a bench leg, or tapped to take a screw for clamping to the bench.
A swage for producing molding on the upper edges of the cheeks will be demonstrated as an option. Cheeks will be riveted and welded or brazed in place.
Making threads on the screw will not be part of the class.
The screw shaft can be forged with an eye on the end for a toggle and threads cut on a lathe later.
As an alternative students may forge the eye and fit it to a tenon filed on a salvaged screw from a "C" clamp, as was done for the prototype.
The components for the box will be forged and brazed around a salvaged nut or around a worm wound on the screw.
Peter's interest in early ironwork developed accidentally as the result
of part time employment at a local living history museum. He spent weekends
and summers working in the blacksmith shop, watching the pieces he had just made
be put to use in correct historic context. After attending the Rhode Island School of Design and a year studying
with blacksmith/whitesmith Dick Everett in East Haddam, CT, he opened his own shop.
In 1979 Peter was hired as a journeyman blacksmith by the Colonial Williamsburg Foundation.
Two years later he took over the shop as Master; a position he held for 23 years.
In addition to reproducing hundreds of different pieces of 18th century hardware, utensils, tools, etc,
Peter and staff helped re-discover pre-industrial methods long out of use.
For the last 30 years, he has been a frequent demonstrator at ABANA national blacksmith conferences,
given hundreds of classes and workshops on historic tools and methods at prominent Craft schools,
regional blacksmith conferences, and museum sites.
Peter now operates his own business in Siler City, North Carolina making museum quality reproductions of 18th and 19th century hardware.
Recent projects include the hardware for the distillery at Mount Vernon, door locks for Monticello and Montpelier, and other private restorations.
In this 3 day workshop we'll be exploring the plasticity of sheet metal (copper and steel) through
material appropriation using raising and chasing. This method is designed to keep the relative thickness
of the material consistent to the original thickness, allowing the chaser to save material for sculpture
and dramatic undercuts without losing the inherent strength of the material. There are a few
projects for us to pick from. They are intentionally designed by Douglas to guide us through beginner
and advanced art styles in sheet metals in this method.
This time, Doug will also be catering to the advanced needs of students who took the class last year.
All tooling is provided! All experience levels are
welcome! All you need to bring is your curious mind!
Douglas got his start in sheet metal forming through armour smithing in 2006. As a teenager too poor to
buy the equipment needed to compete in full contact sword fighting he began to make his own ... and all
his friends, and then some. After taking all of the welding and metal art classes through sierra college
he became more and more curious on how to make things without using welding. So the exploration
through "raising" metals began. This was very beneficial as it opened up many new options for creating
more complex and sophisticated works, though it would take much practice. In 2012 the introduction of
working in pitch greatly increased and challenged the way Douglas approached metal working.
The ability to fill works made of sheet metal with pitch, allowing the hollow metal to behave closer to a
flexible solid greatly enhanced what is achievable. The complementary nature of raising and chasing
has completely captured Douglas' imagination and now he hopes to explore the joys of chasing with you!
Here are some pictures of the class in session:
See some of his work for yourself here at:
Douglas Pryor's Website
Douglas Pryor at Facebook
Douglas Pryor at Instagram
Directions to Tunnel Mill: Tunnel Mill is located 20 miles south of Rochester. Take Hwy 63 out of Rochester to Stewartville, turn east on Hwy 30 to County Highway 1 (approx 5.5 miles).
Turn south on County Highway 1. Follow CO HWY 1 6.5 miles to Tunnel Mill on the left side of CO RD
Call about camping on the grounds. 507-378-4983 or 507-289-4189, Carol Adams.
Lodging available in Spring Valley, 5 miles further south on CO RD 1.
Shady Rest 507-346-2625---Spring Valley Motel & Suites-507-346-7788
For more information on any of the classes contact us at
firstname.lastname@example.org, or call 507-289-4189 Carol Adams.
We are located in southern Minnesota. Tunnel Mill was an old water powered mill. Built in 1869.
Retired in the late 1920's..
Located on the Bear River north of Spring Valley, MN.
Wooded 50 acres with a stream that runs through it.
Now, it's a place for crafts people and friends to congregate, relax and learn some of our forgotten crafts.
Watch for more classes!!