Wednesday, September 16, 2009

Gone Fishin'

Lori's off for a few days of archaeological survey work on the Northern Peninsula. Hopefully she'll tell us all about it in the near future. The plan is to come back early next week, but if they find something, they may have to stay longer. There's potential to find some fantastic stuff, so I'm pretty jealous.

I've got a few days of cutting, grinding, and antiquing to look forward to. Yesterday was a visit to the Rooms to compare my Parks reproductions to the Inuvialuit artifacts. I didn't get to cross anything off the list, but things seem to be more or less on track.

Here's a look at a fish hook that I'm reproducing. The original (in the middle) is from Ivvavik National Park and is made from a very unsual ivory with alternating light and dark bands. There is a good chance that its some kind of tooth, most likely beluga whale. The Parks folks in Inuvik got me some beluga teeth from the Department of Fisheries and Oceans last spring to experiment with. They are definitely shaped like the fish hook, and they do have banding inside them from growth layers, but I couldn't get the right look anywhere. The bands are at the wrong angles and the beluga tooth reproductions wound up looking less like the original than using walrus ivory with tea died bands.

The fish hook has two holes at one end to attach the line to and a single larger hole at the other end for a metal or bone spike. The little copper awl artifact is the kind of thing that would have been stuck through the bottom hole to serve as the actual hook. The ivory is more of the lure. From the staining on the surface the hook was wrapped with a spiral of red string that left a pink stain on the ivory. To simulate the pink stain I found that beet juice works great. I dipped a string that was the right thickness in a little dish of beet juice and wound it around the reproductions while it was damp. The only string I had that was the right diameter was green, so you don't really get the red effect in the photos, but when you peel the dried string off after an hour or so the pink stain is there. The ivory actually has tiny indentations on the edges for the string to sit in, which makes reconstructing the string pattern that much easier.

The final bit of antiquing on these pieces will be dabbing on a bit of oil-based stain to create that brown blob in the middle of the original. I'll need to spray on a clear finish as well to seal in the beet stain. I can fade it a bit by rubbing some of the pink off, but once its at the right shade I want to seal it in and stabilize it.

Photo Credits: Tim Rast

Photo Captions:
Top, Lori waiting for the Boss to get his field shoes on as they head out for the Northern Peninsula to do Important Scientific Research.
Second, Ivvavik Fish Hook, between two walrus ivory reproductions, in progress
Third, Beluga Whale Teeth - Fresh!
Fourth, Beet staining the reproductions

Monday, September 14, 2009

Mixed Bag Monday

Here's a couple of friend's sites to check out.

Cara and Pam have their blog open for business; Visit The Grumpy Goat Gallery. I can't say it any better than they can:

We are two, funny girls who live and work in a wee, kooky cottage by the sea, in a tiny, little town in a quirky place called Newfoundland. We carve, paint, build things and run a 4 star hotel for cats. Life here can be hard and the ocean can get angry, but on sunny, calm days, the whales come out to play and it is the best place to be on earth. If you'd like to stop by our studio to have a gander at our artwork, we'd love to see you. There is a free cat with every purchase, and a complimentary lint rolling service as you depart. Can you ask for anything better than that?

Over at the Burnside Archaeology blog there is a new promotional video up. There's a couple seconds footage from the knapping demo I did out there in June and I play a tourist in the earlier video. Great job, Matthew!





As for me, I spent a bit of time working on Fibre Optics and collecting lichen on the weekend. I ended last week by adding one more artifact to the Finished pile in the Parks contract.

Broken Biface: This artifact comes Aulavik National Park. (Original on Right, Reproduction on Left) Its a fairly rough biface with one end broken off. A biface is a tool that is worked on both surfaces and gives you a sharp cutting edge. It may have been a small knife, projectile point, or endblade that broke in manufacture. It looks to be at a fairly early stage because the flake scars along the edge are so pronounced. Normally as a biface nears completion the edge gets flatter and the flake pattern gets more complex. I don't know the origin of the stone used in the original piece, but I used a piece of English Flint from Devon, England to reproduce it. The colour and texture of the stone was a very good match and the flint forms in chalk, so even the patina is very similar. I knapped the complete biface and then scored and snapped it with a tile cutter to get the break. I had some control over where the break went, but there was also a lot of luck. Some of the patina on the reproduction is the actual chalk patina from the flint and the rest is a rock dust and glue mixture that I carmelized with the blowtorch to match the colour of the patina on the artifact.

Photo Credits:
Top: Screen grab from Cara and Pam's blog
Middle Videos: Matthew Brake, Nova Media and Burnside Heritage Foundation
Bottom: Tim Rast

Photo Captions:
Top: A Day in the life at The Grumpy Goat Gallery.
Middle Video 1: Imagine, Imagine life at Burnside over the past 5000 years
Middle Video 2: Burnside Archaeology Web Video
Bottom: Side by side comparison of biface reproduction (left) and original artifact (right) from Aulavik Island National Park.

Friday, September 11, 2009

Copper Inuit Bows in the CMC

Lori's trip to Ottawa last weekend prompted me to revist some photos I took at the Canadian Museum of Civilization last year. I found a few photos of Copper Inuit Cable backed bows.

The Tuktut Nogait bow would have been cable backed, like these and you can see how there is extra lashing at the bend in the limb for the recurve. This is necessary for the cable to follow the line of the bow, but it also reinforces joins in the wood. I can't be certain from the photos, but it looks like the bow in the display case has a limb spliced on in exactly the same way as the Tuktut Nogait bow.

But there are also many differences. The CMC bows are much thicker limbed and the bows have quite square cross-sections. The Tuktut Nogait bow has very flat, delicate limbs by comparison. There doesn't seem to be an isolated grip in these bows either, whereas the Tuktut Nogait bow has a narrowed grip that protrudes on the belly side of the bow. Nevertheless, references like these will be useful when it comes time to assemble my bow, there is a lot of detail visible in the cable backing.


Here's a quick look at the bows I'm working on as of this morning. I've narrowed the staves a bit and tried to layout the length of the bows to avoid as many knots as possible (the Tuktut Nogait bow has no knots in the wood at all). Right now I'm working the backs. The growth rings on yew are so narrow that its a real challenge to plane the back down to a single growth ring, when they are only 1 mm thick. Once I get the backs properly planed, the rest of the shaping of the bows will be on the sides and the belly.

The Kitikmeot Heritage Society has more great information on making these kinds of bows on their website.

Photo Credits: Tim Rast

Photo Captions:
Top, Inuit Cable Backed Bows at the CMC
Second, Copper Inuit Bow and Hunting Case on display at the CMC, dates to before 1916
Third, Same bow, different view
Fourth, Yew staves in progress

Wednesday, September 9, 2009

Antler Tools Past and Present

This morning, my friend Patty is popping over to borrow some of my antler tools. She's the Ph.D. student at Memorial University who is studying Palaeoeskimo organic artifacts. I did some experimental work with her early in 2008. She'd like to examine the usewear on my knapping tools under a microscope to compare to some of the artifacts in her collection.

Since I have antler on my mind this morning, here's another look at some of the caribou antler pieces that I'm working on right now.

Here's how the adze socket is shaping up. The last time I showed this piece it was soaking in vinegar to soften it, so that I could wedge the socket open wider. The vinegar really does the trick. After 24 hours or so the prous interior of the antler turns to soft sponge and the dense outside turns to hard rubber.
I think that prolonged soaking would probably irreversibly harm the antler, but its been slowly hardening every since, so I'm not worried it will permanently feel like a wet rubber tire. I pounded a progressively larger series of wedges into the socket and its very close to the correct width.

I've been having some good luck with the rock dust and carpenter glue surface treatment on the antler to match the dusty, cracked look of bleached antler. I've been testing it along the way on the reproduction of an antler tine section. A piece like this is hard because there is so little modification to the antler that its very difficult to find an antler that just happened to grow in an identical pattern. I found as good a match as I could and have been slowly modifying it. I've cut, ground, bent, pressed, rebuilt, and antiqued this little reproduction so much over the summer that I'm amazed it still looks like antler. The weathered surface helps cover all the abuse I've heaped on it, but even before the antiquing I'm surprised how resilient the antler is to being torn down and built back up again.

When I have the final dimensions, I need to drill the series of holes across the bottom. I think the original artifact is a discarded waste piece - it was the piece that was sawed off and thrown away. The interesting thing is that it wasn't cut with a saw, a series of holes were drilled through the antler and it was cracked off. With a bow drill, an operation like that would take about the same amount of time as sawing through the antler. A lot of the artifacts that I'm reproducing this summer have holes drilled in them.

Many of the holes were drilled so that two different pieces could be lashed or rivetted together. This little brace piece has 3 complete holes of at least 2 different diameters (and therefore 2 different drillbits) and it was broken through a fourth hole. In this photo the reproduction is almost finished, except for the antiquing, so it gives a good sense of how different fresh antler looks compared to old bleach antler.

Finally, this barbed antler point still has the iron rivets in place. There is a longer, skinnier brace piece still in place on the other side. (a complete view of this barbed point is here). I've included this picture to show the texture match between the artifact, on the left, and the reproduction, on the right. This particular artifact has a greenish tinge, so I'll use serpentine dust when it comes time to antique the reproduction. There is also some lichen growing on it, which I'll add to the reproductions after I'm happy with the rock dust antiquing.

Photo Credits: Tim Rast

Photo Captions:
Top, The antler tools in my flintknapping kit
Second, Side by side comparison of the antler socket, original is on the bottom
Third, wedging open the socket
Fourth, Antler tine artifact (right) and reproduction in progress (left)
Fifth, Drilled antler artifact (left) and reproduction in progress (right)
Sixth, Barbed point artifact next to the antiqued surface of a different reproduction

Monday, September 7, 2009

Making a Dorset Palaeoeskimo Knife

I finished up the Dorset Palaeoeskimo knife that I needed. On orders like this I tend to make more than I need to give the customer choice and to help build an inventory. I need to keep the Fine Craft and Design Fair in the back of my mind for November, so I made two, one with a natural antler handle and one antiqued.

The Dorset knives are a favourite of mine. I talked about them in a previous post and explained why I think the knife handle is a stylized polar bear. Here's a photo I took years ago of the actual artifact and a typical dorset chert knife blade (the scale is 10cm). The handle wasn't found with a blade, but these triangular stone knives are fairly common artifacts in Newfoundland. It looks like the one in the photo has had some resharpening retouch done along the top and bottom blade edges, it probably would have started out a little bit wider in the middle. The handle was found at Port au Choix, on Newfoundland's northern peninsula and is now on display at The Rooms in St. John's.

When I make these knives I alway start with the knapped blade and then create an antler handle that would balance it. I'll scale the artifact handle up or down to create a match. In reality, the handle would have probably been re-used and curated many times as the stone blades broke or wore out. (The knife I made this week is to replace one that was bought on a trip to Newfoundland several years ago, but broke in a horrible dusting accident.) Using a stone tool kit, the labour in the antler handle would far outweigh the labour in making a stone blade to match. A broken stone blade could be reworked into another tool or discarded, but the handle would be held on to and reused. Which, along with poor preservation of organic tools in most of the Province, is one of the reasons why archaeologists have found hundreds of the stone blades and only 2 of the handles.

The handle has a slot in it and an incised groove for a lashing material. I use hide glue to secure the blade to the handle and tie it on with sinew. Its important the the grooves on the handle are deep enough that the sinew makes contact with the stone inside the notches. If I tea stain the handle to antique the antler I do it before attaching the blade. The hide glue and sinew is water soluble, so it would just unravel if it was dunked in warm tea. Using a reversable glue like this in the past would have been important when it came time to retool the handle.

Photo Credits: Tim Rast

Photo Captions:
Top; Dorset Palaeoeskimo knife reproductions, antler, chert, sinew and hide glue
Middle, Photo of original artifact from Port au Choix, Newfoundland and Labrador
Bottom, In progress shot of the reproduction knives in the top photo

Friday, September 4, 2009

Fort Garry Tobacco Tin Progress

One of the artifacts that I'm working on is a portion of a rusted tobacco tin found in Aulavik National Park. The partially visible words on the tin say 'FORT GARRY SMOKING TOBACCO'. Its a different material for me to work, but if I take it one step at a time its manageable. Fortunately biscuit tins are still made in a very similar way today as these tobacco tins were a hundred years ago.

For the reproduction, I used a section of an old cookie tin to create the blank. I used a blowtorch and soft steel brushes to strip the paint off and then had to cut and hammer a new lip to match the Fort Garry tin, but its a good match now.

Now that I have a basic tin blank, I need to transfer the design onto it. At first I looked for fonts on my computer that matched the lettering on the can, but I didn't have any luck. I guess the Fort Garry graphic design team weren't using MS Office. So instead, I photographed the tin and manually traced the letters in CorelDraw. That gives me the clean template that I can use to print and make stencils. I'll print the designs onto clear acetate and cut them out using an x-acto knife.

I found a few reference photos of antique Fort Garry tobacco tins that appear to be the same style as the artifact. That helps with filling in some of the missing lettering and colour matching. There were several different desings used over the years, but the one in the photo on the left seems to be a good match with the artifact I'm working with. According to the site, the paper tobacco tax seal on the antique tin is dated 1915. Luckily, the artifact is missing the complicated image shown on the lower half of the antique, so the part I need to print is fairly simple.

After painting, the final step will be the antiquing; cutting, bending and rusting the reproduction to match the original. Cutting and bending won't be a problem and I've collected a few recipes involving different kinds of household acids and salts to accelerate the rusting. I'll need to experiment with those now so that when the tin is painted and ready I'll know what I need to do to get the rust growing where I need it.

The metal work is a bit of a departure for me, so I've also been working on some of the lithics for the project to keep one foot in my comfort zone. Lori is off to Ottawa for the weekend and I've been doing a bit of flintknapping while she's away. There are a few more flintknapped artifacts in the Parks contract, but I've also been working on a Dorset knife for a customer who has been very patiently waiting. I hope to have these knives finished before Monday.

Photo Credits:
Top, Bottom: Tim Rast
Middle: Photo from www.worthpoint.com

Photo Captions:
Top: Fort Garry Tobacco Tin section shown with the digitized template
Middle: Antique Fort Garry Tobacco Tin
Bottom: Reproduction overlain with partial acetate stencil

Wednesday, September 2, 2009

Craft Council Gallery Shows and Fundraising Supper

On Sunday, Lori and I went to the gallery opening of two new exhibits at the Craft Council of Newfoundland and Labrador's Gallery, which will run from August 30th to October 4th, 2009.

Breaking Point: Jason Holley's chainmaille inspired sculptural pieces. There are some metal pieces in the show, but the majority are made from raku-fired ceramic links. The twist here is that in each piece there is an intentional flaw - a link or more are broken or missing. It brings a bit of randomness into the repeating patterns in the chainmaille. This is a great opportunity to own one of Jason's award winning designs. If you are in St. John's check it out! You'll find the show in the main gallery on the second floor of Devon House, 59 Duckworth St, St. John's.

400: In the annex gallery, across the hall from Breaking Point, there is a show filled with pieces inspired by 400 years of English settlement at Cupids, Newfoundland and Labrador. John Guy landed in Cupids (or Cupers Cove) in 1610. There are some stunning pieces that explore everything from the first European baby being born in Canada to the collapse of the fishery in the form of a massive concrete cod. One of my favourite pieces is Nicola Hawkin's painting of a Beothuk canoe and map interspersed with text extracted from John Guy's journals.

Dogberry Moon 2009: The Craft Council of Newfoundland and Labrador is a member run non-profit organization dedicated to promoting craft in the province. They were a huge help to me when I was starting Elfshot in the form of advice, marketing opportunities, studio start-up money, travel money, and a network of peers. Lori and I volunteer on several CCNL committees. If you live in Newfoundland and value handmade objects, why not shop local at the Craft Council Shop or the Gallery at Devon House? Or why not attend the Dogberry Moon Fundraising Dinner on October 1st?

Dogberry Moon, 5th Annual Friends of the Craft Council Fundraising Dinner Featuring a delicious dinner by A Taste of Class catering & live music presented by Janet Bradbury and Gerry Madden.
Thursday, October 1, 2009
Reception 6:30 pm
Dinner at 7:30

Dinner includes a three course meal with vegetarian option.

Johnson GEO Centre, 175 Signal Hill Rd
Tickets: $60 (tax receipt for $30)
Silent Auction

To purchase tickets for this fabulous dinner, call Candace at 753.2749 or email info@craftcouncil.nl.ca
More information about becoming a Friend of the Craft Council here.

Photo Credits:
Middle, CBC
Bottom, Extract from CCNL Friends Application

Photo Captions:
Top, Piece from Jason Holley's show, Breaking Point
Middle, Engraving of John Guy meeting the Beothuk people of the New Founde Land
Bottom, Devon House, 59 Duckworth St., St. John's
Related Posts with Thumbnails