Subject: Re: Searching for Information on the Acanthus Leaf

From: "Charles Orlando" <[email-masked]>
Date: Thu, 4 Jan 96 21:51:32 EST

On Thu, 04 Jan 96 01:28:50, 
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>From: [email-masked] (enrique)
>To: [email-masked]
>Subject: Searching for Information on the Acanthus Leaf
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>What a way to end 1994.  I have spent the last week searching for
>information on how to forge that great traditional leaf of leaves.  The
>almighty Acanthus leaf.  You would think that as many times as this leaf
>has been used in ornamental ironwork, that there would be a tremendous
>amount of information on how to make one.  Well my search has ended with
>very little information.
>
>I searched the Internet to see if maybe there was some useful information
>on the acanthus leaf.  I did find some pictures of the actual plant.  They
>were helpful in determining what the actual leaf looks like, but not very
>useful in learning how to forge one:-(  However, I did notice from viewing
>the pictures, how past metalworkers would have interpreted the forms that
>are typically found in the traditional acanthus leaf.
>
>My next step was to ask some of my metalworking colleagues if they were
>familiar with any periodicals which had information on the making of this
>wonderful leaf.  Rand Esser was kind enough to lend me his "10th
>Anniversary Issue of The Anvil's Ring" which reprinted the "Pattern book
>for Artsmiths." The original book had been stored in the Samual Yellin
>Library for many years.  On the second page of the book, I found Max
>Metzer's, "Modellbuch Fur Kunstschlosser, Einfaches Akanthusblatt."  There
>were great illustrations of the acanthus leaf and the actual pattern for
>the leaf, but no "how-to" instructions:-(
>
>I needed more information and had been talking with Nol Putnam about my
>predicament.  He referenced Ernst Schwarzkopf's "Plain and Ornamental
>Forging" and sent me a fax with some illustrations of the tools used in
>making the acanthus leaf. Thanks Nol!
>
>With this information under my belt, I decided that the repouse and raising
>tools which I have in the shop are just not going to cut it.  Therefore, I
>rolled up my sleeves, put the current commission on hold, stoked up the
>coal forge, and proceeded to make various bottom stakes and a hammer which
>would fit into those tight places on the leaf.  What a way to end the year!
>
>But you know, it's really not a bad way to end the year.  I spent the last
>two days making a parrots bill stake, a ball peen stake, two differently
>sized half round bottom swages for sinking,  Two veining stakes, and a
>ball/straight peen repouse hammer.   I also realized that sometimes we have
>to take the time to set up the tooling for new processes.
>
>This task also made me aware that I sometimes will try to MAKE DUE with the
>tools I already have and that when situations arise in which the tooling is
>vital to the successful execution of a form, I should stop and re group.
>It is important to take the time to evaluate these traditional forms, for
>they have evolved throughout the ages and have been refined by great
>craftsmen.
>
>Even though I have used the processes of sinking, raising, and repouse on
>my contemporary metalwork, I have never had the opportunity to reproduce
>the historic acanthus leaf.  I look forward to this exercise in traditional
>leaf work and hope that it will help develop my craft skills.
>
>If any of you have any additional references or would even like to send me
>a fax or email on the "how-to's" of making an acanthus leaf, I would
>greatly appreciate it.  If not, that's OK.  I am planning on documenting
>the process which I am using based on the available information and hope to
>add it to the "ArtMetal Resources to Metalworking" so that the next time
>someone searches the Web for Acanthus, they will find some useful
>information on how to make one out of metal:-)
>
>Oh, by the way, the acanthus leaves I am making are made of half-hard
>yellow brass sheet.  The processes will be annealing and cold working.
>
>
>505 Luther Rd.
>Apex, NC USA 27502
>
>e-mail:  [email-masked]
>Phone & Fax: 919-362-0543
>
>If you come to the 1996 ABANA conference, I am pretty sure that Steve 
Joslyn is going to be demonstrating one way he makes the acanthus leaf.
He has changed his email address, so I do not have it.  I think that he
is on this listserve and he can respond as well.
Charley Orlando

>
>sincerely ...
>
>enrique
>
>[email-masked]
>
>----------------------------------------------------------------------------
>
>Art Portfolio:
>
>http://wuarchive.wustl.edu/edu/arts/metal/Gallery/vega_e.html
>

---

From: [email-masked] (George Dixon)
Date: Fri, 5 Jan 1996 00:04:13 -0500

Mr. Orlando forwarded an e-mail from Enrique Vega.....

>the leaf, but no "how-to" instructions
-------------------------------------------------
In response.....

Max Metzger  Die Kunstschlosserei  also has some excellant tools and
examples.  The radius aspect of tooling is covered well.  I had asked Norm
Larson (Norm Larson Books -see an Anvil's Ring for a phone #) to contact
Coleman, the German publisher and see about a reprint.  He recently faxed
back that Coleman has decided to do a reprint later this year.  We can keep
these old treasures around by hunting down publishers, encouraging reprints
and buying them when they come out!
----------------------------------------------------------------------------
Since you have a source of leaf-blank shapes in the 10th Anniversay Anvil's
Ring I would suggest the following:

Trace or photocopy the page two pattern.  I would add a slight radius to
the end as opposed to the 'v' crotch shown, it is less likely that your
bronze will develope a crack there.

Glue onto and cut out the patterned bronze.

I usually run a very fine fuller (like a dull chisel) along the center
line, using a treadle hammer to drive it with gentle taps.  Sink that
center line just enough to be able to 'feel' it with the tool.

Once the center line is marked, with lead as a backer, I use ball tools
that are eliptical across the face instead of round (less dimples) and
progressively dome the entire leaf blank. So far all of this has been from
the paper pattern side.  This is treadle hammer stuff so far.  It can also
be done free-hand into lead.

Once the volume has been imparted I anneal the blank and then put a veining
stake up.  I flip the leaf, dome aspect up, vein depression down and seat
the vein on the veining stake. You will feel the vein 'snap' onto the
stake.  Use a leaf hammer with a face like a small cross-peen, somewhat
flat with radius on all sides (long sides and the end).

Hold down HARD and begin to hammer the leaf ALONG side but not on the stake
ridge.  Work both sides of the vein alternately, if you get too far
developed on one side it's a bear to get the other side caught up.  The
further you hammer from the stake the broader the vein, the closer to the
stake-the more defined.  With lots of light, repetative blows you can
maintain control, and planish quite a ridge where you want it. { Even with
flat stock, which is another approach, you can raise and control a vein by
holding the blank hard onto the stake (the top of which should be like a
dull chisel) and hammering on either side.  Though you hammer down, it will
appear as if something is pushing the vein up  from beneath.  A lead block
in the vise will back your dome-faced hammer as you give volume with the
blank top down on the lead.} The shorter the edge on your stake the more
easily you can impart curved veins.
Anyway...

On the side veins, the shorter ones that lead towards center from the leaf
segments, use a broader veining stake and also work along the side.  Or you
can flip the leaf , top onto the lead, and use narrow fullers to impart
these veins.
If your leaf is broad, this can be later in the process.  If you are going
for a narrow, tight cross-section, deal with these side veins earlier.

Once you fully develope the center vein, the leaf will fold gently towards
the middle.  Experimentation will let you get the feel for sequence that
accomodates your version.  The gross, long axis curve will develope more
readily if you use the leverage of the stake as you work along side the
main vein.  You can also lay the nearly complete leaf on its back on lead
and fuller the vein with multiple passes.  The backbend at the tip end can
be done over a lead block, say 4"x4"x6" clamped in a vice with a trench
cold hammered into it clear to the edge (Gee, sketchability on the 'ol
e-mail would be nice...).  Work the tip end down into the 'trench as you
extend it progressively out into space.  It will scroll like flat stock on
an anvil but the trench coupled with the resistence of the lead maintains
the cross-section you want.

The key, besides practice, is to work progressively and avoid hard blows.
develope the effects and you can shift or stop before the piece is damaged.
Hard, agressive hammer work will only lead to frustration at first.

Solid versions of this lead-tool are shown in the education section of the
ABANA net site.
Hope this helps.

George Dixon