I carved these a while ago and was waiting to anodise them electronically but decided to use heat instead.
Friday, 31 July 2015
Monday, 27 July 2015
Ford Hallam 2
One of the things I admire most about Ford is his absolute commitment to the traditions taught to him by his sensei. There is a great integrity about not just his techniques but his approach to the way of learning and teaching the subject. All aspects of Japanese thought processes, aesthetic considerations and spiritual ethos are brought to bear on any subject he chooses to portray.
"The classical tradition which I'm presenting is a coherent system that has evolved over more than 1000 years and has given birth to some of the worlds most remarkable metal art. The methods and approach of these artists were not at all simple, nor easy, and any attempt to learn from the past it is sometimes going to entail doing things the hard way to ensure we don't miss something of value. The fact is we can only begin to asses the value of each aspect at the end of the learning process, not at the start."
Ford Hallam
It is not to just be able to replicate some skill level or make objects similar in look that I wish to attain, but to walk this particular path engenders a spirit of mindful approach which I am looking to grow within myself. This approach is exemplified in both Ford and many of his students.
The making of your own tagane, punches and hammers is the start of the skills required. Knowing good heat treating, how to grind, file and sharpen chisels is essential. These skills support good carving as there is often a place in a new piece which needs a different shape or size tool.
During the period swords were banned in Japan, makers of sword fittings turned their skills towards all metal work including jewellery, box inserts, netsuke and pots. This gives a precedent to be able to work on all forms of metal, the approach and techniques used are as important as the final piece.
"The classical tradition which I'm presenting is a coherent system that has evolved over more than 1000 years and has given birth to some of the worlds most remarkable metal art. The methods and approach of these artists were not at all simple, nor easy, and any attempt to learn from the past it is sometimes going to entail doing things the hard way to ensure we don't miss something of value. The fact is we can only begin to asses the value of each aspect at the end of the learning process, not at the start."
Ford Hallam
It is not to just be able to replicate some skill level or make objects similar in look that I wish to attain, but to walk this particular path engenders a spirit of mindful approach which I am looking to grow within myself. This approach is exemplified in both Ford and many of his students.
The making of your own tagane, punches and hammers is the start of the skills required. Knowing good heat treating, how to grind, file and sharpen chisels is essential. These skills support good carving as there is often a place in a new piece which needs a different shape or size tool.
During the period swords were banned in Japan, makers of sword fittings turned their skills towards all metal work including jewellery, box inserts, netsuke and pots. This gives a precedent to be able to work on all forms of metal, the approach and techniques used are as important as the final piece.
Following the Iron Brush 2
As a reference for classical Japanese metalwork, especially as an English speaker, there is no better than Ford Hallam. When I first saw his work I was amazed, when I looked further and discovered the methods involved and the history of the tradition, my first thought was that moment of "when I grow up I want to do that!"
The only way it has been possible for me to access the knowledge I need to make the tools and learn their use has been through his Following the Iron Brush forum. There are various sections in the forum, from jewellery, art, netsuke and classical Japanese metalwork. Many users at different stages of development can share their experiences with excellent tips and tutorials by the more experienced people.
Ford is always available for comment if asked but usually the questions have been asked already and a quick search reveals the answer, often in more detail than I would have thought necessary.
The only way it has been possible for me to access the knowledge I need to make the tools and learn their use has been through his Following the Iron Brush forum. There are various sections in the forum, from jewellery, art, netsuke and classical Japanese metalwork. Many users at different stages of development can share their experiences with excellent tips and tutorials by the more experienced people.
Ford is always available for comment if asked but usually the questions have been asked already and a quick search reveals the answer, often in more detail than I would have thought necessary.
Sunday, 26 July 2015
Tiaan Burger part 2
One of the major advantages I gained from the visit with Tiaan was to be able to see both the tools and some finished pieces in real life. Pictures and descriptions can be very misleading when trying to learn about something entirely new.
Tiaan's tagane were much more refined than the ones I had made thus far. The body and points were smaller. The angle of the cutting edge was steeper. These are things I find you can only see when actually holding an object. Tiaan is also very experienced with forging and working with steel so his tools are excellently made.
Tiaan's tagane were much more refined than the ones I had made thus far. The body and points were smaller. The angle of the cutting edge was steeper. These are things I find you can only see when actually holding an object. Tiaan is also very experienced with forging and working with steel so his tools are excellently made.
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| Tagane |
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| Tagane next to a steel ruler showing the length at approx. 11.5cm |
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| This is a scraper, it is used to smooth out chisel marks before the abrasive stones |
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| Another view of the same scraper, they are really effective and can also be used for subtle shaping |
Tiaan Burger
Tiaan Burger is a South African knifemaker and artist. I had been following his work on facebook because of the mutual interest in knife making. Recently he has also started posting some traditional Japanese carving which he learnt much the same way as myself, through the Iron Brush forum and by contacting Ford Hallam. He was able to spend some time in Ford's workshop as well which is something I would dearly like to do.
I contacted Tiaan and was fortunate enough to be able to interview him when he was in Durban on holiday. I am very interested in Tiaan's work because he doesn't just take Japanese techniques and carve Japanese motifs but rather uses Japanese techniques to carve South African scenery, fauna and flora. In the interview I asked about this and he said he likes to imagine a Japanese craftsman growing up in South Africa. The Japanese used their surroundings as inspiration, so too should we.
I contacted Tiaan and was fortunate enough to be able to interview him when he was in Durban on holiday. I am very interested in Tiaan's work because he doesn't just take Japanese techniques and carve Japanese motifs but rather uses Japanese techniques to carve South African scenery, fauna and flora. In the interview I asked about this and he said he likes to imagine a Japanese craftsman growing up in South Africa. The Japanese used their surroundings as inspiration, so too should we.
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| Traditional Japanese techniques and materials applied to South African scenery and animals. |
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| Gathering motifs from your surroundings |
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| Translating that into the traditional form of a tsuba or Japanese sword guard |
Tuesday, 7 July 2015
Monday, 6 July 2015
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