thekkur (the welcome one): a norse friendship rune for ...empireofthesands.com/janynfletcher/bh...
TRANSCRIPT
Thekkur (The Welcome One):
A Norse Friendship Rune for
Bright Hills Schola Event (2013)
Created by
THL Janyn Fletcher of Lancastreschire
Barony of Bright Hills
MKA Jay Nardone
443-508-4456
www.janynfletcher.com
Summary ............................................................................................................................ 3 My Assumptions and My Token Projects ....................................................................... 3
Original Artifact/Design ................................................................................................... 4 Creation of my piece ......................................................................................................... 5
Stone Preparation ......................................................................................................... 5 Transferring or Drawing the figure ............................................................................ 5 Carving the Mold .......................................................................................................... 7
Casting and Cleanup of the piece .............................................................................. 10 Troubleshooting the Pour........................................................................................... 12
Differences in Construction: Period Technique vs. My methods ............................... 13
Mold Material Differences ......................................................................................... 13 Carving Tool differences ............................................................................................ 13
My Final Comments and Learning Moments .............................................................. 14
Credits .............................................................................................................................. 14 Literary Sources .............................................................................................................. 14
Pewter/Low Temp Alloy Suppliers................................................................................ 15 Conquest Industries ........................................................................................................ 15 Atlas Metal Sales ............................................................................................................. 16
Ney Metals ....................................................................................................................... 16
Summary
I volunteered to provide a site token for the Bright Hills Schola Scribal Event (2013), the
Autocrat and Baronial A&S Clerk Signet requested an image of my choosing. I selected a
Norse friendship rune named Thekkur. Soap stone was selected as the carving material,
cut, and sanded using fine grit sand paper to allow both sides to mate flush with each
other. I transferred the design outline to the stone via a method called “punch point.” This
method uses a series of holes punched into tracing paper and allows a permanent marker
to transfer dots to the stone that you can then follow for the carving outline. I then carve
the subject to the required depth and add the details as necessary. Once the subject is
completed, the sprue and vents are added to the stone. The sprue is where the molten
pewter is poured into the mold and the vents allow any trapped air to escape.
In the end, over 100 tokens were created, with the option of creating more as bezants for
decoration in the future.
Materials Used Tools Used Total Time of preparations
Soapstone slab 3” x 3” x ¾”
(2)
Dentists picks Stone Cutting = 0.5 hrs
RotoMetals AC Pewter 3lbs Stone carving tools Stone Prep = 2 hrs
Silly Putty Dremel Bits Drawing = 1 hrs
Sand Paper Carving (2 molds) = 6 hrs
Jewelers Files Casting (100 pcs) = 2 hrs
Lee 20lb melting pot Cleaning / polishing = 2 hrs
Lee 2oz ladle
Welders Gloves
Jewelers magnifying lenses
TOTAL TIME: = 13.5 hrs
My Assumptions and My Token Projects
The earliest pewter that has been found was in an Egyptian tomb dated to 1450 B.C.
Pewter was used by the Romans and was introduced to Britain in the 2nd century C.E.
Significant pewter production did not begin until the 13th
century. Many industries sprang
up around the casting of pewter badges, plaques and other items that had to do with
Pilgrimages. Pewter was also used in many household items. In 1474 the London
Pewterers “purchased” from King Edward IV a royal charter for the legal control of
pewter manufacture – the birth of the Worshipful Company of Pewterers still in existence
today.
Soapstone has been used for casting various types of metal since before the Vikings. It
was used to cast pewter, lead, bronze and other metals. Soapstone was itself also used to
make many items, as it was so easy to carve but held up well to heat. Pots, bowls and
lamps are only a few examples.
Materials Used in Period
Lead – Straight lead was used in period. It has a reasonable low melting point (~620ºF).
Using lead has obvious safety risks that make it undesirable to use now.
Tin – Used in some casting. Until 1300s the supply came almost exclusively from
England so this was rarely found on the mainland. Melting point is 450ºF.
Pewter – Pewter in period is difficult to define. It was often a mixture of lead, tin, and
traces of other metals. There have been mainland pewter mixtures found with over 50%
lead and some found with no lead at all. For example, Canterbury bells were made with
97% tin, 2% copper and traces of bismuth and antimony. Most pewter mixes did contain
lead. Melting points varied with the metal composition ranging from around 350ºF to
600ºF. The pewter that I use typically melts around 425 degrees.
In an effort to perfect my craft and widen my body of work, I wanted to help the Barony
scribal event and provide site tokens that were unique. I wanted to produce a piece that
would be remembered for its uniqueness.
I have just started down my path of pewter casting within the last year. I find it both
educational and very rewarding when the recipients are excited over my work. I enjoy
being able to help where I can with my projects.
Original Artifact/Design
I studied several designs and wanted to do
something fun and eye catching for this site token. I
found a Norse Friendship Rune and thought this
would make a wonderful site token for the event.
Thekkur means "The Welcome One". It is a runic
symbol for friendship Runes were the writing
system used by the Norse and Northern Germanic
peoples from approx. 500-1200 AD. Writings of
these peoples are scarce, but a few runes have been
found in Icelandic sagas.
Creation of my piece
Stone Preparation
Soapstone – Soapstone, or steatite, is almost entirely composed of talc. Good soapstone is
very easy to carve, holds intricate detail and will last through hundreds of castings. Good
soapstone should have an even consistency with few occlusions and should not be
crystalline but it is sometimes tough to tell where the occlusions are until you are well
into carving. When soapstone is hot it becomes somewhat brittle so care should be taken
not to chip it. Soapstone was quarried in Norway and Iceland and has been used by
various cultures throughout the middle ages. When carving soapstone, you will generate a
lot of dust that you do not want to breathe in. Keep a dust mask handy.
WARNING: I want to warn you that working with soapstone will create dust that is
very dangerous to inhale. I always wear a respirator when working with soapstone.
Soapstone is naturally found in rock form and will need to be cut into slabs to
accommodate your requirements for each project. There are a select few suppliers that are
willing to cut the stone into slabs for you. I buy mine from a supplier that sells it in 6” x
12” x ¾” thick slabs and I cut them down to the required size on a wet saw used for tile
cutting. The cutting of the stone will get the size of the stone to a workable size.
The next step in preparation of the stone is to assure that both sides will perfectly smooth
and mate together with no openings. Many times the wet saw blades will leave blade
marks and possibly uneven surfaces on the inner faces of the stone. I also will place hash
marks on 2 sides of the stone to act as an alignment guide so the mold is put together
correctly each time.
I like to sand the inner faces of the stone by placing a new piece of 150-grit to 200-grit
sandpaper laying face up on my workbench table. I then take each piece of the soapstone
and with the inner face down, slide the stone over the sandpaper in circular motions to
true the face of the stone. I continue this process with the other half of the stone and when
done with the first pass of sanding I will check the mating of the two halves. Place the
two faces of stone facing one another and check to see if any light can be seeing in-
between the two halves. If you can see light, continue the sanding process and test fit
repeatedly until you no longer see any light. Once this is completed the stone should want
to hold to each side with a bit of water. I use a water sprayer and spray just a bit of water
to wet one side of the stone. Place the two halves together and they should grip to each
other for a few seconds. If this is the case, the stone is ready to be used. Allow the stone
to dry before proceeding to the drawing phase of the project.
Transferring or Drawing the figure
Now is the time to draw out your design with that felt tip marker (if you are using the
pin-dot transfer method) or a pencil if you are free-handing the drawing. One important
aspect is to double check that it is backwards! The picture needs to be backwards on the
mold so when the piece is completed, it will face the correct way out of the mold. Work
across your design adding depth first. Your design will be easier to see on the finished
product if it sticks out a bit. Choose the right tool for the design. Often a rounded tool
will be more appropriate than a pointed one. Remember – Speeding along will only get
you rework or another try at a brand new mold, THERE ARE NO SHORTCUTS! Use
the modeling clay often to see how your mold is looking. It is very difficult to tell just by
looking at the stone.
This is an example of what the transferred
picture looks like using the “pin-dot”
method. The dots are transferred to the stone
and then you can simply follow the dots to
complete the picture.
Drawing
The first consideration in drawing is placement of the token in the mold for optimal flow.
Examine the design and orient it on the face of the stone so that as many points or small
extensions in the design (ex. barbs on the rose) as possible are oriented downwards,
ensuring that the material will flow into them while hottest. Often designs are carved
upside down to ensure more detail as well as hide the sprue connection in the base of the
token.
After a few practice runs on paper, sketch the design onto the stone with a mechanical
pencil or fine tip sharpie pen. This will allow the design to be more visible under direct
light. As I have problems sketching due to damage in my hands, I prefer to use a punch
point method of transfer. To do this, take a copy of the graphic and, using a small pin,
punch a series of holes into any lines, or at the very least, the outline of the design, for
the drawing. Tape the drawing onto the stone in the correct position and run pencil or
fine tip sharpie marker along the lines with the holes. The holes will leave a series of
marks on the stone, and you can complete the graphic on the stone by connecting the
dots!
Carving Station: Dremel bits, foam work pad and example tokens
Carving the Mold
I choose to use a very sharp pointed
pick or carving tool to go around
the outside lines of the picture for
the first time. This will allow you
to set the lines of the outside of the
piece that will act as a guide when
you start to add the depth to the
piece.
As the outside lines are completed,
I then switch to completing the
depth of the piece itself. You will
need to make a decision here about
how thick you want the piece to be.
The deeper the piece, the more pewter it will require to cast. This can be a factor when
required to make hundreds of pieces. Also deeper molds might be more difficult to get
the poured piece out of.
Once the desired shape and depth of the
edge is achieved, the cavity of the body
are carved using Xacto knives and steel
carving tools, and then the hollow is
smoothed out using a tool such as
Xacto knife or pick to achieve the
smooth surface. Check with your
Sculpy to ensure that the hollow is level
(or at the correct depth), and check the
surface with a magnifying glass to
ensure that the face has no
imperfections.
To add the details to the
hollow, sketch in the design
onto the surface of the hollow,
and proceed to etch the design
using a very small, pointed
carving implement (ex. a pin or
needle). Once your design is
etched, repeatedly go over the
design to dig the lines to the
desired depth. For the inner
design lines on the body, use
an Xacto knife to round out the
sides and top of each segment
of the body made by the
carving lines to provide an
organic, rounded flow to the segments of the body and improve overall aesthetics.
Once the detail work is completed, more cleanup work is performed. I use a jeweler’s
head magnifier to check the mold and assure that there are no overhanging edges,
scratches or any other marks that are unwanted in the carved area.
Since the token is to be hung from a
string or jump ring, a small ring
should be carved at the top of the
token. This is easily done using the
base of the shaft of a dremel tool
head inserted upside down into the
Xacto tool handle. Since the shaft
of the head is circular, it will carve a
perfect rounded ring. A very small,
rounded, carving head will also
work very well. I chose to just drill
a hole in the top of the piece and use
a silver jump ring.
Once you are happy and sure that the carving is at the point you wanted it to be, I will use
a medium to polish and smooth the carving. I use many different things; mother’s
aluminum polish, flitz and toothpaste are all good. They are just abrasive enough to
smooth the surface face of the carving but won’t hurt your work. Make sure to clean all
of the abrasive out of the mold and assure to let the mold dry prior to pouring the hot
pewter into it.
WARNING: I want to warn you that pouring hot pewter into a wet mold can be
very dangerous!
As I discussed earlier you will need to carve vent lines into the mold to allow trapped air
to escape from the mold. There are many ways to accomplish this. I like to carve lines 45
degrees from the artwork to the outer edges of the side with the carving in it. You can
also add them to the non carved side of the mold but it will leave a pattern of vent lines in
the back of your piece which might not be wanted.
Mold with matching sprue
Finally, a sprue from the top of the mold to
the token is drawn out and carved, tapering in
size to the base of the carving. The sprue
should be wide enough to allow a sufficient
quantity of metal to flow freely into the
carving and fill out all details, while being
small enough to remove from the token once
carved.
The size of the vent lines and sprue can be
adjusted after test pours to assure optimal
effect in regards to the flow of the metal.
The sprue should be the last thing you carve into your mold. It is the main access to the
carving where you will pour the hot pewter. The sprue needs to be big enough to allow
the hot pewter to flow. The sprue needs to be carved into both sides of the mold and you
need to assure that it does not extend too far into the piece or it could change the way the
final pour could look. I typically stop mine right at the edge of the jump ring tab or edge
of the piece.
You might be required to adjust how many and the depth of your vent lines after a few
test pours. In my experiences to date, if I have a bad pour it is usually caused by too few
or not deep enough vent lines.
Casting and Cleanup of the piece
WARNING: When working with any molten metal, heavy gloves, long sleeved shirts,
jeans, and safety glasses are a must! Do not cast bare footed or without closed shoes!
Welding gloves are my preferred protection, please do not use thin gardening or work
gloves as they will not stop molten metal.
I like to use RotoMetals 92% pewter. It is comprised of 92% tin, 8% Antimony and
flows well for most of my projects.
Casting Station: Metal ingots, molds, melting furnace
and ladle
I allow the heating vessel to heat completely before trying to pour any of my pieces. I try
to use the lowest temperature that I can to successfully complete the pour. There is no
reason to run the highest temperatures for most pours. Once the pewter is melted and up
to temperature I will “skim” the dross from the top of the pewter and stir the molten
pewter a few times. Then the mold will be clamped shut with a metal clamp and using the
ladle I will pour the pewter into the mold via the sprue.
The mold needs to be at the same temperature that the pewter is or the piece will most
likely not pour correctly. It might take a few pours to get the mold and stone to the
correct temperature. Please keep in mind that the stone will be just as hot as the metal
after a few pours.
The Process of Casting
Mold clamped and pouring started Waiting for the pour to cool
A good pour! Casting Pot ready for next piece
Many of the tokens completed
Troubleshooting the Pour
If you are having issues with the pour of your piece, it can be attributed to these issues:
- The Mold does not fill completely even after a few pours and the mold is at
proper temperature: Assure that the mold is at proper temperature and assure that
there are adequate vent lines or adjust the temperature of the pewter slightly
higher and repeat a few pours.
- The metal looks burned or cloudy: this is a sign of pewter that is too hot. You will
typically see this along the sprue because that part of the mold and piece remains
the hottest the longest. Try adjusting the pewter temperature down and try again
after waiting for a few minutes.
When you have reached that point where you can continuously pour without fill issues or
metal issues, you can repeat the pour process to complete the required amount of tokens.
I try to cast as many at a time that I can because it takes about 20-30 minutes for an
almost full heating unit to reach the proper temperature after cooling completely.
Cast and cleaned token
Differences in Construction: Period Technique vs. My methods
As discussed earlier, stone casting has been traced back to 1450 B.C. and with the
exception of the tools used and the method of heating the pewter and the composition of
the metal itself, the process is still very similar.
On the whole the differences in construction for my pewter tokens from period are mostly
in the tools and materials:
Mold Material Differences
While the molds in period are often documented as being carved from softer materials
such as wood, soapstone, or cuttlebone, I use Soapstone as it provides a more workable
material with minimal occlusion. I would like to try some Wonderstone in the future but
have not been able to find any yet.
Carving Tool differences
Instead of using jewelers tools like artisans in period used, I choose to use dentist’s picks,
stone carving tools and a power dremel tool in certain instances. The methods used to
imprint the image into the stone essentially remain the same but accomplished through
the use of more modern tools.
My Final Comments and Learning Moments
Overall I am pleased with this project. The tokens were fun to create and cast. I had
many issues with details in the mold breaking out when the mold heated up and because
the mold details were carved too deeply. I ended up making 3 molds because I was not
happy with the way the original 2 were producing tokens. I learned something new once
again that I value as a pewter caster. I learned about disintegrating molds and how detail
that is carved too deep can destroy a mold when trying to remove the piece from it.
Credits
As always, credit goes to my original teachers, Master Chirhart Blackstar, LSCA, and
Mistress Martelle Von Charlottenburg, LSCA, for getting me started on this path.
Without their knowledge and patience, I would still have many questions. I also want to
thank Master Christopher MacConing, LCSA for being patient and forgiving with my
mistakes I have made along the way so far and for helping me with my format of my
documentation.
Special thanks go to my wife, Lady Aemilia Rosa, for all of her help, encouragement, and
for keeping me sane while I was learning my craft!
Literary Sources
Pewter Casting in Stone Molds1
http://www.warehamforge.ca/pewter.html
(Site Excerpt) The majority of jewelry objects remaining from the Viking Age are either
made of silver or bronze. Silver is commonly found in massed hordes, with coins, ingots,
fragments forming the largest portion rather than finished jewelry. These hordes are
obviously collected wealth, hidden in times of peril by owners who never returned. The
common medium of exchange was obviously silver, gold objects are relatively
uncommon throughout Scandinavia. Although simple sliver objects are found, many
show a very high degree of craftsmanship. Complex forming and assembling techniques
are commonly seen with silver.
Early Smelting and Metallurgy2
http://www.unr.edu/sb204/geology/smelt.html
(Site Excerpt---and page down for a period illustration of a smelting furnace) Smelting
was accomplished initially in an open fire. A hole one to two feet in diameter was dug in
the ground. The hole was lined with fire-resistant clay or stone. Charcoal was placed in a
layer on top of the clay, then was covered by copper ore. Charcoal burns particularly hot,
raising temperatures enough to melt the copper. The charcoal also releases gases that
react with the copper minerals to reduce them to copper metal. A molten mass of the
1 Dame Aoife Finn of Ynos Mon, OL Riverouge, Aethelmearc
2 Same as 1
dense copper formed, topped by lighter waste products, or slag. When the mass was cool,
the brittle, glassy slag could be broken off, leaving a cake of refined copper behind. The
furnace in this method is called an open hearth. Remnants of open hearths have been
found in Sumerian ruins.
Smelting, Casting, Smithing3
http://www.rmsg.us/indust/charcoal.htm
(Site Excerpt) during the summer 2000 field season at Scatness, some experimental
archaeology was carried out near the excavated Broch. A bloomery shaft furnace was
constructed from clay, and local bog iron ore was smelted. The furnace filled with
charcoal: bellows and tuyere at left, and thermocouple built into furnace wall at front.
Mitchiner, Michael. Medieval Pilgrim and Secular Badges. Sanderstead: Hawkins
Publications. 1986. ISBN: 0904173194.
Spencer, Brian. Pilgrim Souvenirs and Secular Badges (Medieval Finds from Excavations
in London) TSO. c1998.
ISBN: 0112905749.
Spencer, Brian. Salisbury Museum Medieval Catalogue. Pt.2. Salisbury. Salisbury and
South Wiltshire Museum. 1990. ISBN: 0947535128.
Read, Brian. Metal Buttons c.900 BC - c. AD 1700. Huish Episcopi, Portcullis
Publishing, 2005. ISBN 0-9532450-4-7.
Material Sources
Stone
The Compleat Sculptor
www.sculpt.com
90 Vandam St.
New York, NY 10013
Phone: 1-800-9-SCULPT
Notes: Make sure that you order reasonably thick stone (1-1.5”), preferably in
small blocks that you can work or cut. Ordering large stones to cut up may cause
you difficulty.
Pewter/Low Temp Alloy Suppliers
Conquest Industries Conquest Industries, Inc
9915 Bell Ranch Drive
3 Same as 2
Santa Fe Springs, CA 90670
Phone (562) 906-1111
Fax (562) 906-1112
Website: http://www.conquestind.com/metalAlloys/
Conquest has a very wide variety of lead free pewter alloys. 2 of the alloys we have
used from Conquest are OR-8 and Aquaclean (a very shiny silver bearing lead free
pewter alloy).
Atlas Metal Sales Division of AMIC
1401 Umatilla St.
Denver, CO 80204
800-662-0143
303-623-0143
Fax: 303-623-3034
E-mail: [email protected]
Website: http://www.atlasmetal.com/
Ney Metals 269 Freeman Street
Brooklyn, New York, 11222
(718) 389-4900
Fax: (718) 349-2313
Website: http://www.neymetals.com/
Purity Casting Alloys Ltd. (20 minutes from Vancouver, Canada) 18503 - 97th Ave
Surrey, BC .V4N 3N9
Canada
Phone: (604) 888-0181 (8am - 4pm PST)
Fax: .... (604) 888-8318...........................
Website: http://www.purityalloys.com
E-mail: [email protected]
Casting Equipment
Midway USA
www.midwayusa.com
Phone: 800-243-3220
Notes: Casting equipment is under the Bullet Casting section. Look at lead
furnaces, ingot molds and lead dippers. Avoid gravity pour pots, as pewter is
lighter than lead and can flow through the gravity spout.