This little snippet from the 5th Annual Charles Lewton-Brain Conference shows Charles working on several line folds that have different leg lengths. The point of the demo is that shorter leg length means greater curvature. It seems like a small point but it's a foundation concept and major design choice.
Notice the heavy, rhythmic blows. The piece is moving, not the hammer, just like fabric moves under a sewing machine needle. Periodically Charles switches to a flat-faced rawhide hammer to flatten out the piece, and that's important too.
I had the camera on a tripod early in the conference so it's not a tight view but I hope you can see and hear enough to get the main points. I think it really helps to see the hammering style even from here... hope you agree.
These are the pieces made in the video. It's the only shot I got... you can see there is more curve on the piece with shorter legs (sides), as compared to the bottom piece with longer legs. Too bad there isn't a side view of the top left piece. Sorry not perfect but does it make sense?
I'll get another post out within the week so stop back.
August 2012 on SueLacy Wired is dedicated to the 5th annual Charles Lewton-Brain Conference on Foldforming, taking place Aug 3-6 at the Center for Metal Arts in downstate NY. To view the series, click category "5th Annual Charles Lewton-Brain Conference" in the far right column on this page.
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Sue Lacy Wired
This began as a hobbyist's blog.
Over time it became a quest to support & connect metalsmiths around the globe who use foldforming techniques in their work.
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