Photo Essay: Yakisugi Using Reclaimed Wood
Finishing views of a 4×16′ timberframe shed constructed as an opportunity to further develop and practice basic techniques of Japanese structural joinery. As with the kajiba project, the main inspiration for aesthetic and design is the humble Japanese inaka naya (納屋) style style of a century ago. From rough sawn lumber the preparation of frame…
Photo Essay: Views of a Timber Frame Shed
During the summer months this year the museum forge was closed due to dry conditions, affording the time to work on other projects. This 4×16′ timberframe shed provided an opportunity to further develop and practice basic techniques of Japanese structural joinery. As with the kajiba project, the main inspiration for aesthetic and design is the…
Simple Bladesmithing Anvil
Traditional Japanese swordsmithing anvils are simple in form and can be made from readily available materials. This article will present a photographic overview of the process of removing and replacing the swordsmith’s anvil at the museum forge on Vancouver Island. Most of history was forged with very simple equipment made from found and natural materials.…
Museum Forge Update
Traditional Japanese swordsmithing forges can be constructed with simple materials and natural ingredients. This article will present a photographic overview of the process of refurbishing the swordsmith’s forge at a museum on Vancouver Island. Most of history was forged with very simple equipment made from found and natural materials. A basic charcoal forge can be…
Charcoal Kiln V.4.0
As part of the island kajiba project, reclaimed and natural materials were used to construct a larger traditional style charcoal making kiln. The basic concept is a simple chamber with a door on one end and a chimney on the other, insulated and sealed by being buried in clay/soil, and roofed to keep off the…
Repair broken Natural Waterstone with Urushi
Repairing a broken natural Japanese waterstone using urushi lacquer. Natural urushi lacquer is strong enough to repair the stone but will not interfere with sharpening and polishing as some glues may. Carving a cypress base to hold the stone together as well as using urushi lacquer to reattach the halves provides a double solution. The…
Building Simple Charcoal Forges
Building two examples of quick and simple sideblast charcoal forges with found and reclaimed materials to demonstrate that lack of equipment and materials should not be a major obstacle. Ways to improve and expand on these concepts include: mixing copious amounts of chopped straw or charcoal powder (6:2) into the clay to make it refractory,…
Glass Top Fuigo – Inside View of Box Bellows
A look at the inside operation of a prototype fuigo (鞴) box bellows…four wooden flap valves (called ben / は弁), two for intake and two for the manifold, control the direction and location of the airflow on each stroke of the piston to provide double action to the single output into the fire. more about…
Making a Bamboo Scoop for Water Forging
Simple technology for pouring water on the anvil, takeno mizusashi (竹の水差し) made from a piece of bamboo. Forging with a thin film of water on the anvil and hammer prevents forge scale or oxide from being hammered into the surface of the steel. The hot steel instantly vaporizes the water and the resulting steam explosion…
Making Fire with Bamboo – museum forge first lighting
The first night turned out to be quite an event as there were three forges and six blacksmiths/strikers operating in the museum workshop. Thanks to Tim of Reforged Ironworks, and Josh for their energy and charcoal chopping to get the forge up and running, and their assistance swinging the big sledges to finish drifting and…
Sumi-kiri – chopping charcoal for bladesmithing
Charcoal is chopped and then processed through four sizes of screen, the largest is for tanren, the second for hizukuri (I tend to use the largest for hizukuri as well and keep the second size mainly for yaki-ire), the third size isn’t useful in daily forging activity but may be crushed into fines or saved…
Making 篩 for charcoal screening
Traditional Japanese swordsmithing forges are fueled by softwood charcoal which is first chopped, screened, and sorted into several sizes for different stages of the forging process. The “furui” (篩) or sieve is used to separate different sizes of charcoal during the sumi-kiri process. This one is the smallest mesh of the four, made from window…
Making 箕 for charcoal sorting
Traditional Japanese swordsmithing forges are fueled by softwood charcoal which is first chopped, screened, and sorted into several sizes for different stages of the forging process. The winnowing basket shaped “mi” (箕) is used to store and move charcoal between screens during the sumi-kiri process. See the whole museum forge project here.
Building a Charcoal Tanto Forge
This forge is a scaled down version specifically geared for tanto and smaller knives but has a removable spacer to allow for a larger fire when needed. Details about traditional measurements and clay mixtures here.
Museum Forge Project
Building western Canada’s only full-sized traditional Japanese style swordsmith forge. See the whole process and more video here.