I have a Patreon page where I post stories about my travels and experiences casting bronze around the world. Last year I was in Moscow for the Times and Epochs festival, casting bronze with local reenactors. I learned a lot, both about different ways to cast bronze, and also about Moscow and Russia. The story is being told in installments. The first two can be found here:
If you’re interested in reading more, there are both public posts and ones that are available to my Patreon subscribers. There are also other benefits for supporters, including copies of powerpoints and articles, or even postcards sent from wherever I travel. Check and out my Patreon page here and consider a small contribution to support my ongoing work in experimental archaeology.
Last September I had the honour to be invited to cast bronze in North Cyprus as part of the Vounous Symposium. It was an amazing experience, working in the place that saw the dawn of ancient metallurgy. Our word copper is derived from the name of Cyprus. As part of the symposium, we visited a historical copper mine (I only brought back a few samples!), ancient sites, and museums. However the focus of the symposium is the recreation of ancient technology, not only to understand techniques used in the Bronze Age in Cyprus, but also to restore its lost heritage and to educate others about the island’s rich history.
I wrote a short article for EXARC about the Vounous Symposium. You can read it here.
Crafting in the World is a new work that combines the world of archaeology, craft, and anthropology. It explores crafts in ancient and modern contexts and discuses the relevancy of understanding crafts to other disciplines.
I had the privilege of writing one of the chapters for this book. In it I discuss how metal objects can be read in a way that the actions of the smith can be visualised.
"This volume expands understandings of crafting practices, which in the past was the major relational interaction between the social agency of materials, technology, and people, in co-creating an emergent ever-changing world. The chapters discuss different ways that crafting in the present is useful in understanding crafting experiences and methods in the past, including experiments to reproduce ancient excavated objects, historical accounts of crafting methods and experiences, craft revivals, and teaching historical crafts at museums and schools.
Crafting in the World is unique in the diversity of its theoretical and multidisciplinary approaches to researching crafting, not just as a set of techniques for producing functional objects, but as social practices and technical choices embodying cultural ideas, knowledge, and multiple interwoven social networks. Crafting expresses and constitutes mental schemas, identities, ideologies, and cultures. The multiple meanings and significances of crafting are explored from a great variety of disciplinary perspectives, including anthropology, archaeology, sociology, education, psychology, women’s studies, and ethnic studies.
This book provides a deep temporal range and a global geographical scope, with case studies ranging from Europe, Africa, and Asia to the Americas and a global internet website for selling home crafted items."
The link to the publisher is here. It is an academic publisher, and so it is rather expensive. However some university libraries already have copies, so I would recommend seeing if your local library can get a copy, or borrow it on Inter-Library Loan.
Sometimes you just need a new pair of shoes. I’d been wanting to make some of the replica shoes I’d seen online. there are a few good sites where you can find patterns and step by step tutorials.
Kelticos has a number of different patterns that you can download.
I followed the instructions on this site. It goes step by step and practically no-fail. I however am a bit more cautious and rather start with the leather I made a pattern out of brown paper.
Once I was confident that I had a good fit with the paper pattern, I bought the leather that I needed. One thing that few sites describe is the type and weight of leather needed. I bought some cow leather that was supple, but not stretchy from Cox Leather in Albuquerque. The place is an amazing resource for hides, rawhide, leather, skins, and really anything leather related. They also ship!
Leather thickness in the US is measured by the ounce, and in mm in Europe. The leather I bought was about 8 oz / 3.2 mm / 1/8 inch thick.
Once I traced the pattern on the leather, I cut the shoes out using good sharp scissors and punched the holes for lacing with an awl. It’s important to use an awl or punch rather than cutting the hole with a scissors since a round hole pushed through the leather is less likely to tear than a hole that is cut.
I stitched up the backs with sinew. I followed the directions and stitched the sides of the heel to the heel tab straight up. It ended up a little loose. When I get the time I’ll restitch them so they come in a little tighter on the top. Another modification will be to put more of a sole on them. Some options are to cut an insole out of rawhide and sew it between the inside of the sole with another, softer leather insole on top. I might line it with some sheep skin, too.
First posted on 16th November 2016
Since I first posted this I have worn the shoes often and have come in useful while working at the Bronzezeithof in Germany. They are holding up well after a year, although I don’t wear them every day.
Bag bellows might be the oldest form of bellows used. We don’t know for certain because they are made entirely of organic materials, and so none survive in the archaeological record. Because they have the advantage of being portable, lightweight, and easy to make, this type of bellows are still in use for iron forging in parts of Africa and South Asia. When you make a pair, you can be as “authentic” as you want, using only wood and leather, or you can use more readily scrounged materials like vacuum cleaner hoses and pleather. There is a remarkable video of Kenyan metalsmiths using bellows made of cement bags here.
In addition to this tutorial, check out the Bellows Forum page where there are variations of bellows designs and some interesting variations.
Traditionally bag bellows are made of pliable leather and the usual description is that a single bellow is made from one goatskin. The bellows I describe here are made with upholstery fabric. At the time I made them, leather was too much for my budget. After they were sewn I gave them a good coating of linseed oil that made them both waterproof and airtight. I find it ironic that in the Bronze Age leather would have been readily available, but hand-woven fabric would have been exorbitant. So, these are my ostentatious display of wealth bellows.
How big the bellows you make will depend on what’s comfortable for you. I’ve used very large bellows and ones so small you’d think that they’d never produce enough air to get the job done, but they did remarkably well. What is important is that the size works for you. You’ll be sitting on the ground, or close to the ground (I like a log or a short tree stump with a bit of padding). Sit down on the floor and raise your arm with your elbows bent so that they are lifted a little over waist high. Try not to move with your shoulders. You’ll be pumping your arms up and down for hours, so it’s good to find a height that works for you so that you don’t wear your arms out. Measure that height or get a good idea of how high that is. Then you’ll want to add a few more inches because you want to have the bellows rest on the ground. If you lift them too high, the sides will collapse and you won’t be able to trap the air in them. You also want to add another few inches to wrap around the handles.
Besides the leather (or whatever material you choose) the other supplies you’ll need are heavy waxed thread or sinew, leather or sail needles (depending on the type of material you’re sewing). The handles are made of two straight branches about 3-4 cm (1-1 ½ inches) in diameter, or four boards 3 by .5 cm (1 by ¼ inch) the length will depend on how wide the top of your bellows are. If you use branches, they’ll have to be split lengthwise so that they have a semi-circular cross section. My bellows are about 16 inches wide.
Using your own measurements, adapt the pattern below, adding about 3 cm/1 inch for the seams around the edges, and enough at the top to wrap around the handles. You’ll also need some scrap to make loops for your fingers. The loops are more important than you realise. Getting them right will mean the difference between being able to work for hours, and giving up because you keep getting blisters or losing your grip.
Another useful detail is to sew a small triangle in the front of the bellows, just below the handles. Holger Lonze taught me this trick. It makes it much easier to open the bellows wider and get more air in.
The other detail is the part at the bottom that sticks out. This is where the tuyere will fit. The size you make that will depend on the tuyere you make, and also how much air you want to push through to the fire. If it’s too narrow, you’ll be expending a lot of energy pushing air through a small space. Too large and you’ll be pumping furiously to get the volume of air through the tuyere. Mine is about 10 cm (4 inches) and tapers a little so I can fit different tuyeres to it in case I ever want to change it.
The other supply you’ll need is rawhide. Leather strips can work, but they aren’t as durable or tight as rawhide. The best source for rawhide I’ve found is the pet shop. Buy a rawhide chew bone for a dog and soak it in a bucket of water overnight. The rawhide will soften and you can untie the ends and unroll a nice sheet of rawhide. I cut it in a spiral so I have good, long pieces. While it’s wet, you can wrap it and tie it easily. Once it’s dry it shrinks to a hard, tight fit.
Cut out the leather or material and then stitch it with the outsides together so that when you turn it inside out, the raw edges will be on the inside. Don’t sew it all the way to the top. You want that extra selvedge to wrap around the handles. Make sure you fit the triangle in the front below the bottom edge of where the handles will be.
The next step was the hardest for me. It’s a bit of a pain. You need to wrap the upper selvedge of the bellows around the sticks and sew them tightly into place. If you’re using half-round branches, make sure the flat sides are on the inside so they meet and make a tight fit. Sew these in tight along the bottom of the sticks. It’s annoying if they wobble around.
Turn the bellows right side out and admire your work.
If you used branches, you might not need loops for your fingers. Try pumping them a bit and see if you can open and close them easily without them slipping out of your hands. The action is to open them while the top of the bellows is close to the ground, Lift them, close them when they are as high as you want to lift them, close the bellows and then push down. If you lose your grip, you might want to put loops on them. They are simple, just strips of the same material that your bellows are made from. Sew them so your hand will be about 1/3 to 1/4 of the way from the back. When the bellows open, the little triangle in front will allow the bellows to open in a “V” shape and allow you to trap more air. Having the loops toward the back means that you don’t have to open your hands as wide. Since I work with kids a lot, this was a consideration when I designed them. Also, I have small hands.
The loops should accommodate four fingers on one side and your thumb on the other. The handles will stretch over time, so I periodically have to stitch them again to tighten them up.
There now, try them out. If you feel any air leaks in the seams you can seal them with linseed oil. If you made your bellows from fabric, the easiest way to coat them is to hang them on a clothes line outside and slather the oil on with a paintbrush. It takes a long time to dry and smells pretty strong. It’s definitely something to be done outdoors. Keep in mind that it might take a day or two for the linseed oil to dry.
Now in order to work, you’ll need at least a short tuyere. If you’re not fussed, some steel tubing from a vacuum cleaner works fine. If you want a more Bronze Age look, you can make them from wood. I took a short branch and drilled a hole in it using a 2 cm flat bit (1 ½” spade bit in the US). The branches are about 1 cm or ½” wider than the bit. If you don’t have a bit or don’t want to use power tools, take a branch of the right thickness (about 4 cm or 3”) and split it in half. Carve out the centre and fit them back together using glue and rawhide.
Fit one end of your tuyere into the opening at the bottom of your bellows (you didn’t sew that shut, right?). Now take the wet, sloppy rawhide and wrap it tightly around the part of the bellows covering the tuyere. If your tuyere is made of split branches, keep wrapping so that it holds the halves of the branch together. Depending on the weather and humidity, it might take several hours for the rawhide to dry.
Once everything is dry, try them out. They’ll be a bit stiff at first and will need to be broken in. It takes a bit of practice to get the Open-Lift-Close-Push rhythm going, especially if you alternate hands. Once you get into it, it gets easier. Think of a cat kneading its paws.
Another tip is to get some thin willow twigs, about the size used for making baskets. Make them into hoops that will fit inside the bottom of your bellows. It will help keep them open, especially if you have a tendency to lift them too high.
Next you’ll be wanting a “Y” shaped tuyere to connect the bellows together.