Locksmiths in Emerald Hill offer a highly demanded service, which generally relates to maintaining and installing the various types of lock systems, from the standard key locks to the complex electronic or biometric locks. The most common types of locksmith professions consist of the emergency, industrial, commercial, and residential, which each of the specific fields requiring different skills and abilities.
Residential work is likely to be the most common of the services provided by a residential locksmith. A domestic property owner looks at personal security and safety as a key reason when it comes to making sure a home is fully secured against a would-be intruder. A locksmith has gained the experience and knowledge to suggest the most effective locks for a properties doors and windows. Beyond the ability to install new locking systems, the locksmith is also able to repair or replace the locks on the older styled properties. Extra services offered by a local locksmiths offer security advice, a key cutting service, installing locks on a garage or similar outbuilding, and installing at-home safes or vaults.
How Do I Choose A Residential Locksmith in Emerald Hill?Jump to navigation Jump to search "Blacksmiths" redirects here. For the suburb in New South Wales, see Blacksmiths, New South Wales. A blacksmith is a metalsmith who creates objects from wrought iron or steel by forging the metal, using tools to hammer, bend, and cut (cf. whitesmith). Blacksmiths produce objects such as gates, grilles, railings, light fixtures, furniture, sculpture, tools, agricultural implements, decorative and religious items, cooking utensils and weapons. While there are many people who work with metal such as farriers, wheelwrights, and armorers, the blacksmith had a general knowledge of how to make and repair many things, from the most complex of weapons and armor to simple things like nails or lengths of chain. The "black" in "blacksmith" refers to the black fire scale, a layer of oxides that forms on the surface of the metal during heating. The origin of "smith" is debated, it may come from the old English word "smythe" meaning "to strike" or it may have originated from the Proto-German "smithaz" meaning "skilled worker." Smithing process in Mediterranean environment, Valencian Museum of Ethnology Blacksmiths work by heating pieces of wrought iron or steel until the metal becomes soft enough for shaping with hand tools, such as a hammer, anvil and chisel. Heating generally takes place in a forge fueled by propane, natural gas, coal, charcoal, coke or oil. Some modern blacksmiths may also employ an oxyacetylene or similar blowtorch for more localized heating. Induction heating methods are gaining popularity among modern blacksmiths. Color is important for indicating the temperature and workability of the metal. As iron heats to higher temperatures, it first glows red, then orange, yellow, and finally white. The ideal heat for most forging is the bright yellow-orange color that indicates forging heat. Because they must be able to see the glowing color of the metal, some blacksmiths work in dim, low-light conditions, but most work in well-lit conditions. The key is to have consistent lighting, but not too bright. Direct sunlight obscures the colors. The techniques of smithing can be roughly divided into forging (sometimes called "sculpting"), welding, heat-treating, and finishing. Forging—the process smiths use to shape metal by hammering—differs from machining in that forging does not remove material. Instead, the smith hammers the iron into shape. Even punching and cutting operations (except when trimming waste) by smiths usually re-arrange metal around the hole, rather than drilling it out as swarf. Forging uses seven basic operations or techniques: These operations generally require at least a hammer and anvil, but smiths also use other tools and techniques to accommodate odd-sized or repetitive jobs. Traditional blacksmith next to his forge of stone and brick Drawing lengthens the metal by reducing one or both of the other two dimensions. As the depth is reduced, or the width narrowed, the piece is lengthened or "drawn out." As an example of drawing, a smith making a chisel might flatten a square bar of steel, lengthening the metal, reducing its depth but keeping its width consistent. Drawing does not have to be uniform. A taper can result as in making a wedge or a woodworking chisel blade. If tapered in two dimensions, a point results. Drawing can be accomplished with a variety of tools and methods. Two typical methods using only hammer and anvil would be hammering on the anvil horn, and hammering on the anvil face using the cross peen of a hammer. Another method for drawing is to use a tool called a fuller, or the peen of the hammer, to hasten the drawing out of a thick piece of metal. (The technique is called fullering from the tool.) Fullering consists of hammering a series of indentations with corresponding ridges, perpendicular to the long section of the piece being drawn. The resulting effect looks somewhat like waves along the top of the piece. Then the smith turns the hammer over to use the flat face to hammer the tops of the ridges down level with the bottoms of the indentations. This forces the metal to grow in length (and width if left unchecked) much faster than just hammering with the flat face of the hammer. Canadian blacksmith in the 1970s Heating iron to a "forging heat" allows bending as if it were a soft, ductile metal, like copper or silver. Bending can be done with the hammer over the horn or edge of the anvil or by inserting a bending fork into the hardy hole (the square hole in the top of the anvil), placing the work piece between the tines of the fork, and bending the material to the desired angle. Bends can be dressed and tightened, or widened, by hammering them over the appropriately shaped part of the anvil. Some metals are "hot short", meaning they lose their tensile strength when heated. They become like Plasticine: although they may still be manipulated by squeezing, an attempt to stretch them, even by bending or twisting, is likely to have them crack and break apart. This is a problem for some blade-making steels, which must be worked carefully to avoid developing hidden cracks that would cause failure in the future. Though rarely hand-worked, titanium is notably hot short. Even such common smithing processes as decoratively twisting a bar are impossible with it. Upsetting is the process of making metal thicker in one dimension through shortening in the other. One form is to heat the end of a rod and then hammer on it as one would drive a nail: the rod gets shorter, and the hot part widens. An alternative to hammering on the hot end is to place the hot end on the anvil and hammer on the cold end. Punching may be done to create a decorative pattern, or to make a hole. For example, in preparation for making a hammerhead, a smith would punch a hole in a heavy bar or rod for the hammer handle. Punching is not limited to depressions and holes. It also includes cutting, slitting, and drifting—all done with a chisel. The five basic forging processes are often combined to produce and refine the shapes necessary for finished products. For example, to fashion a cross-peen hammer head, a smith would start with a bar roughly the diameter of the hammer face: the handle hole would be punched and drifted (widened by inserting or passing a larger tool through it), the head would be cut (punched, but with a wedge), the peen would be drawn to a wedge, and the face would be dressed by upsetting. As with making a chisel, since it is lengthened by drawing it would also tend to spread in width. A smith would therefore frequently turn the chisel-to-be on its side and hammer it back down—upsetting it—to check the spread and keep the metal at the correct width. Or, if a smith needed to put a 90-degree bend in a bar and wanted a sharp corner on the outside of the bend, they would begin by hammering an unsupported end to make the curved bend. Then, to "fatten up" the outside radius of the bend, one or both arms of the bend would need to be pushed back to fill the outer radius of the curve. So they would hammer the ends of the stock down into the bend, 'upsetting' it at the point of the bend. They would then dress the bend by drawing the sides of the bend to keep the correct thickness. The hammering would continue—upsetting and then drawing—until the curve had been properly shaped. In the primary operation was the bend, but the drawing and upsetting are done to refine the shape. Welding is the joining of the same or similar kind of metal. Blacksmith, 1606 A modern blacksmith has a range of options and tools to accomplish this. The basic types of welding commonly employed in a modern workshop include traditional forge welding as well as modern methods, including oxyacetylene and arc welding. In forge welding, the pieces to join are heated to what is generally referred to as welding heat. For mild steel most smiths judge this temperature by color: the metal glows an intense yellow or white. At this temperature the steel is near molten. Any foreign material in the weld, such as the oxides or "scale" that typically form in the fire, can weaken it and cause it to fail. Thus the mating surfaces to be joined must be kept clean. To this end a smith makes sure the fire is a reducing fire: a fire where, at the heart, there is a great deal of heat and very little oxygen. The smith also carefully shapes mating faces so that as they come together foreign material squeezes out as the metal is joined. To clean the faces, protect them from oxidation, and provide a medium to carry foreign material out of the weld, the smith sometimes uses flux—typically powdered borax, silica sand, or both. The smith first cleans parts to be joined with a wire brush, then puts them in the fire to heat. With a mix of drawing and upsetting the smith shapes the faces so that when finally brought together, the center of the weld connects first and the connection spreads outward under the hammer blows, pushing out the flux (if used) and foreign material. An artist blacksmith and a striker working as one The dressed metal goes back in the fire, is brought near to welding heat, removed from the fire, and brushed. Flux is sometimes applied, which prevents oxygen from reaching and burning the metal during forging, and it is returned to the fire. The smith now watches carefully to avoid overheating the metal. There is some challenge to this because, to see the color of the metal, the smith must remove it from the fire—exposing it to air, which can rapidly oxidize it. So the smith might probe into the fire with a bit of steel wire, prodding lightly at the mating faces. When the end of the wire sticks on to the metal, it is at the right temperature (a small weld forms where the wire touches the mating face, so it sticks). The smith commonly places the metal in the fire so he can see it without letting surrounding air contact the surface. (Note that smiths don't always use flux, especially in the UK.) Now the smith moves with rapid purpose, quickly taking the metal from the fire to the anvil and bringing the mating faces together. A few light hammer taps bring the mating faces into complete contact and squeeze out the flux—and finally, the smith returns the work to the fire. The weld begins with the taps, but often the joint is weak and incomplete, so the smith reheats the joint to welding temperature and works the weld with light blows to "set" the weld and finally to dress it to the shape. A blacksmith at work Depending on the intended use of the piece, a blacksmith may finish it in a number of ways: A range of treatments and finishes can inhibit oxidation and enhance or change the appearance of the piece. An experienced smith selects the finish based on the metal and on the intended use of the item. Finishes include (among others): paint, varnish, bluing, browning, oil, and wax. Striker A blacksmith's striker is an assistant (frequently an apprentice), whose job it is to swing a large sledgehammer in heavy forging operations, as directed by the blacksmith. In practice, the blacksmith holds the hot iron at the anvil (with tongs) in one hand, and indicates where to strike the iron by tapping it with a small hammer in the other hand. The striker then delivers a heavy blow to the indicated spot with a sledgehammer. During the 20th century and into the 21st century, this role has become increasingly unnecessary and automated through the use of trip hammers or reciprocating power hammers. When iron ore is smelted into usable metal, a certain amount of carbon is usually alloyed with the iron. (Charcoal is almost pure carbon.) The amount of carbon significantly affects the properties of the metal. If the carbon content is over 2%, the metal is called cast iron, because it has a relatively low melting point and is easily cast. It is quite brittle, however, and cannot be forged so therefore not used for blacksmithing. If the carbon content is between 0.25% and 2%, the resulting metal is tool grade steel, which can be heat treated as discussed above. When the carbon content is below 0.25%, the metal is either "wrought iron (wrought iron is not smelted and cannot come from this process) " or "mild steel." The terms are never interchangeable. In preindustrial times, the material of choice for blacksmiths was wrought iron. This iron had a very low carbon content, and also included up to 5% of glassy iron silicate slag in the form of numerous very fine stringers. This slag content made the iron very tough, gave it considerable resistance to rusting, and allowed it to be more easily "forge welded," a process in which the blacksmith permanently joins two pieces of iron, or a piece of iron and a piece of steel, by heating them nearly to a white heat and hammering them together. Forge welding is more difficult with modern mild steel, because it welds in a narrower temperature band. The fibrous nature of wrought iron required knowledge and skill to properly form any tool which would be subject to stress. Modern steel is produced using either the blast furnace or arc furnaces. Wrought iron was produced by a labor-intensive process called puddling, so this material is now a difficult-to-find specialty product. Modern blacksmiths generally substitute mild steel for making objects traditionally of wrought iron. Sometimes they use electrolytic-process pure iron. Many blacksmiths also incorporate materials such as bronze, copper, or brass in artistic products. Aluminum and titanium may also be forged by the blacksmith's process. Each material responds differently under the hammer and must be separately studied by the blacksmith. Hot metal work from a blacksmith Steel with less than 0.6% Carbon content cannot be hardened enough by simple heat-treatment to make useful hardened-steel tools. Hence, in what follows, wrought-iron, low-carbon-steel, and other soft unhardenable iron varieties are referred to indiscriminately as just iron. Wayland's smithy in the centre, Níðuð's daughter Böðvildr to the left, and Níðuð's dead sons hidden to the right of the smithy. Between the girl and the smithy, Wayland can be seen in an eagle fetch flying away. From the Ardre image stone VIII on Gotland In Hindu mythology, Tvastar also known as Vishvakarma is the blacksmith of the devas. The earliest references of Tvastar can be found in the Rigveda. Hephaestus (Latin: Vulcan) was the blacksmith of the gods in Greek and Roman mythology. A supremely skilled artisan whose forge was a volcano, he constructed most of the weapons of the gods, as well as beautiful assistants for his smithy and a metal fishing-net of astonishing intricacy. He was the god of metalworking, fire, and craftsmen. In Celtic mythology, the role of Smith is held by eponymous (their names do mean 'smith') characters : Goibhniu (Irish myths of the Tuatha Dé Danann cycle) or Gofannon (Welsh myths/ the Mabinogion ) The artist William Blake used the blacksmith as a motif in his own extensive mythology. Here, Los, a protagonist in several of Blake's poems, is tormented at his smithy by the figure Spectre in an illustration Blake's poem Jerusalem. This image comes from Copy E. of that work, printed in 1821 and in the collection of the Yale Center for British Art The Anglo-Saxon Wayland Smith, known in Old Norse as Völundr, is a heroic blacksmith in Germanic mythology. The Poetic Edda states that he forged beautiful gold rings with wonderful gems. He was captured by king Níðuðr, who cruelly hamstringed him and imprisoned him on an island. Völundr eventually had his revenge by killing Níðuðr's sons and forging objects to the king from their skulls, teeth and eyes. He then seduced the king's daughter and escaped laughing on wings he himself had forged. Seppo Ilmarinen, the Eternal Hammerer, blacksmith and inventor in the Kalevala, is an archetypal artificer from Finnish mythology. Tubal-Cain is mentioned in the book of Genesis of the Torah as the original smith. Ogun, the god of iron, is one of the pantheon of "orisa" traditionally worshipped by the Yoruba of Nigeria. Gold, silver, and copper all occur in nature in their native states, as reasonably pure metals - humans probably worked these metals first. These metals are all quite malleable, and humans' initial development of hammering techniques was undoubtedly applied to these metals. During the Chalcolithic era and the Bronze Age, humans in the Mideast learned how to smelt, melt, cast, rivet, and (to a limited extent) forge copper and bronze. Bronze is an alloy of copper and approximately 10% to 20% Tin. Bronze is superior to just copper, by being harder, being more resistant to corrosion, and by having a lower melting point (thereby requiring less fuel to melt and cast). Much of the copper used by the Mediterranean World came from the island of Cyprus. Most of the tin came from the Cornwall region of the island of Great Britain, transported by sea-borne Phoenician and Greek traders. Copper and bronze cannot be hardened by heat-treatment, they can only be hardened by work-hardening. To accomplish this, a piece of bronze is lightly hammered for a long period of time. The localized stress-cycling causes the necessary crystalline changes. The hardened bronze can then be ground to sharpen it to make edged tools. Clocksmiths as recently as the 19th century used work hardening techniques to harden the teeth of brass gears and ratchets. Tapping on just the teeth produced harder teeth, with superior wear-resistance. By contrast, the rest of the gear was left in a softer and tougher state, more capable of resisting cracking. Bronze is sufficiently corrosion-resistant that artifacts of bronze may last thousands of years relatively unscathed. Accordingly, museums frequently preserve more examples of Bronze Age metal-work than examples of artifacts from the much younger Iron Age. Buried iron artifacts may completely rust away in less than 100 years. Examples of ancient iron work still extant are very much the exception to the norm. Concurrent with the advent of alphabetic characters in the Iron Age, humans became aware of the metal iron. In earlier ages, iron's qualities, in contrast to those of bronze, were not generally understood though. Iron artifacts, composed of meteoric iron, have the chemical composition containing up to 40% nickel. As this source of this iron is extremely rare and fortuitous, little development of smithing skills peculiar to iron can be assumed to have occurred. That we still possess any such artifacts of meteoric iron may be ascribed to the vagaries of climate, and the increased corrosion-resistance conferred on iron by the presence of nickel. During the (north) Polar Exploration of the early 20th century, Inughuit, northern Greenlandic Inuit, were found to be making iron knives from two particularly large nickel-iron meteors. One of these meteors was taken to Washington, D.C., where it was remitted to the custody of the Smithsonian Institution. The Hittites of Anatolia first discovered or developed the smelting of iron ores around 1500 BC. They seem to have maintained a near monopoly on the knowledge of iron production for several hundred years, but when their empire collapsed during the Eastern Mediterranean upheavals around 1200 BC, the knowledge seems to have escaped in all directions. In the Iliad of Homer (describing the Trojan War and Bronze Age Greek and Trojan warriors), most of the armor and weapons (swords and spears) are stated to have been of bronze. Iron is not unknown, however, as arrowheads are described as iron, and a "ball of iron" is listed as a prize awarded for winning a competition. The events described probably occurred around 1200 BC, but Homer is thought to have composed this epic poem around 700 BC; so exactitude must remain suspect. A blacksmith shop in the harbor of Saint John, New Brunswick, Canada in the late 19th century When historical records resume after the 1200 BC upheavals and the ensuing Greek Dark Age, iron work (and presumably blacksmiths) seem to have sprung like Athena, fully-grown from the head of Zeus. Very few artifacts remain, due to loss from corrosion, and re-use of iron as a valuable commodity. What information exists indicates that all of the basic operations of blacksmithing were in use as soon as the Iron Age reached a particular locality. The scarcity of records and artifacts, and the rapidity of the switch from Bronze Age to Iron Age, is a reason to use evidence of bronze smithing to infer about the early development of blacksmithing. It is uncertain when Iron weapons replaced Bronze weapons because the earliest Iron swords did not significantly improve on the qualities of existing bronze artifacts. Unalloyed iron is soft, does not hold an edge as well as a properly constructed bronze blade and needs more maintenance. Iron ores are more widely available than the necessary materials to create bronze however, which made iron weapons more economical than comparable bronze weapons. Small amounts of steel are often formed during several of the earliest refining practices, and when the properties of this alloy were discovered and exploited, steel edged weapons greatly outclassed bronze. Iron is different from most other materials (including bronze), in that it does not immediately go from a solid to a liquid at its melting point. H2O is a solid (ice) at -1 C (31 F), and a liquid (water) at +1 C (33 F). Iron, by contrast, is definitely a solid at 800 °F (427 °C), but over the next 1,500 °F (820 °C) it becomes increasingly plastic and more "taffy-like" as its temperature increases. This extreme temperature range of variable solidity is the fundamental material property upon which blacksmithing practice depends. Another major difference between bronze and iron fabrication techniques is that bronze can be melted. The melting point of iron is much higher than that of bronze. In the western (Europe & the Mideast) tradition, the technology to make fires hot enough to melt iron did not arise until the 16th century, when smelting operations grew large enough to require overly large bellows. These produced blast-furnace temperatures high enough to melt partially refined ores, resulting in cast iron. Thus cast iron frying pans and cookware did not become possible in Europe until 3000 years after the introduction of iron smelting. China, in a separate developmental tradition, was producing cast iron at least 1000 years before this. Although iron is quite abundant, good quality steel remained rare and expensive until the industrial developments of Bessemer process et al. in the 1850s. Close examination of blacksmith-made antique tools clearly shows where small pieces of steel were forge-welded into iron to provide the hardened steel cutting edges of tools (notably in axes, adzes, chisels, etc.). The re-use of quality steel is another reason for the lack of artifacts. The Romans (who ensured that their own weapons were made with good steel) noted (in the 4th century BC) that the Celts of the Po River Valley had iron, but not good steel. The Romans record that during battle, their Celtic opponents could only swing their swords two or three times before having to step on their swords to straighten them. On the Indian subcontinent, Wootz steel was, and continues to be, produced in small quantities. In southern Asia and western Africa, blacksmiths form endogenous castes that sometimes speak distinct languages. A blacksmith monk, from a medieval French manuscript In the medieval period, blacksmithing was considered part of the set of seven mechanical arts. Prior to the industrial revolution, a "village smithy" was a staple of every town. Factories and mass-production reduced the demand for blacksmith-made tools and hardware. The original fuel for forge fires was charcoal. Coal did not begin to replace charcoal until the forests of first Britain (during the AD 17th century), and then the eastern United States of America (during the 19th century) were largely depleted. Coal can be an inferior fuel for blacksmithing, because much of the world's coal is contaminated with sulfur. Sulfur contamination of iron and steel make them "red short", so that at red heat they become "crumbly" instead of "plastic". Coal sold and purchased for blacksmithing should be largely free of sulfur. European blacksmiths before and through the medieval era spent a great deal of time heating and hammering iron before forging it into finished articles. Although they were unaware of the chemical basis, they were aware that the quality of the iron was thus improved. From a scientific point of view, the reducing atmosphere of the forge was both removing oxygen (rust), and soaking more carbon into the iron, thereby developing increasingly higher grades of steel as the process was continued. During the eighteenth century, agents for the Sheffield cutlery industry scoured the British country-side, offering new carriage springs for old. Springs must be made of hardened steel. At this time, the processes for making steel produced an extremely variable product—quality was not ensured at the initial point of sale. Springs that had survived cracking through hard use over the rough roads of the time, had proven to be of a better quality steel. Much of the fame of Sheffield cutlery (knives, shears, etc.) was due to the extreme lengths the companies took to ensure they used high-grade steel. Blacksmiths at the Atchison, Topeka and Santa Fe Railway shops in Topeka, Kansas, 1943 During the first half of the nineteenth century, the US government included in their treaties with many Native American tribes, that the US would employ blacksmiths and strikers at Army forts, with the expressed purpose of providing Native Americans with iron tools and repair services. During the early to mid-nineteenth century, both European armies as well as both the U.S. Federal and Confederate armies employed blacksmiths to shoe horses and repair equipment such as wagons, horse tack, and artillery equipment. These smiths primarily worked at a traveling forge that when combined with a limber, comprised wagons specifically designed and constructed as blacksmith shops on wheels to carry the essential equipment necessary for their work. High school blacksmith class, Salt Lake City, Utah, 1915 Play media Uyghur blacksmiths at work, Yengisar, Xinjiang, western China Lathes, patterned largely on their woodturning counterparts, had been used by some blacksmiths since the middle-ages. During the 1790s Henry Maudslay created the first screw-cutting lathe, a watershed event that signaled the start of blacksmiths being replaced by machinists in factories for the hardware needs of the populace. Samuel Colt neither invented nor perfected interchangeable parts, but his insistence (and other industrialists at this time) that his firearms be manufactured with this property, was another step towards the obsolescence of metal-working artisans and blacksmiths. (See also Eli Whitney). As demand for their products declined, many more blacksmiths augmented their incomes by taking in work shoeing horses. A shoer-of-horses was historically known as a farrier in English. With the introduction of automobiles, the number of blacksmiths continued to decrease, many former blacksmiths becoming the initial generation of automobile Mechanics. The nadir of blacksmithing in the United States was reached during the 1960s, when most of the former blacksmiths had left the trade, and few if any new people were entering the trade. By this time, most of the working blacksmiths were those performing farrier work, so the term blacksmith was effectively co-opted by the farrier trade. During the 20th century various gases (natural gas, acetylene, etc.) have also come to be used as fuels for blacksmithing. While these are fine for blacksmithing iron, special care must be taken when using them to blacksmith steel. Each time a piece of steel is heated, there is a tendency for the carbon content to leave the steel (decarburization). This can leave a piece of steel with an effective layer of unhardenable iron on its surface. In a traditional charcoal or coal forge, the fuel is really just carbon. In a properly regulated charcoal/coal fire, the air in and immediately around the fire should be a reducing atmosphere. In this case, and at elevated temperatures, there is a tendency for vaporized carbon to soak into steel and iron, counteracting or negating the decarburizing tendency. This is similar to the process by which a case of steel is developed on a piece of iron in preparation for case hardening. An Artist Blacksmith working with a power hammer in Bodom, Finland, 2011 A renewed interest in blacksmithing occurred as part of the trend in "do-it-yourself" and "self-sufficiency" that occurred during the 1970s. Currently there are many books, organizations and individuals working to help educate the public about blacksmithing, including local groups of smiths who have formed clubs, with some of those smiths demonstrating at historical sites and living history events. Some modern blacksmiths who produce decorative metalwork refer to themselves as artist-blacksmiths. In 1973 the Artists Blacksmiths’ Association of North America was formed with 27 members. By 2013 it had almost 4000 members. Likewise the British Artist Blacksmiths Association was created in 1978, with 30 charter members and had about 600 members in 2013 and publish for members a quarterly magazine. While developed nations saw a decline and re-awakening of interest in blacksmithing, in many developing nations blacksmiths continued doing what blacksmiths have been doing for 3500 years: making and repairing iron and steel tools and hardware for people in their local area. Jesse Hoover blacksmith shop, Herbert Hoover National Historic Site Painting by Joseph Morewood Staniforth, 1892 Find more aboutBlacksmithat Wikipedia's sister projects
Locksmiths: How to Find One(Redirected from Locksmith) Jump to navigation Jump to search Iron Lock from Sirpur, India Excavation, 12th century historical Locks from 17th century Russia A lock is a mechanical or electronic fastening device that is released by a physical object (such as a key, keycard, fingerprint, RFID card, security token, coin etc.), by supplying secret information (such as a keycode or password), or by a combination thereof. Medieval lock in Kathmandu Ancient Lock from Kerala The earliest known lock and key device was discovered in the ruins of Nineveh, the capital of ancient Assyria. Locks such as this were later developed into the Egyptian wooden pin lock, which consisted of a bolt, door fixture, and key. When the key was inserted, pins within the fixture were lifted out of drilled holes within the bolt, allowing it to move. When the key was removed, the pins fell part-way into the bolt, preventing movement. Simple three-disc locking mechanism from a wooden box recovered from the Swedish ship Vasa, sunk in 1628 The warded lock was also present from antiquity and remains the most recognizable lock and key design in the Western world. The first all-metal locks appeared between the years 870 and 900, and are attributed to the English craftsmen. It is also said that the key was invented by Theodorus of Samos in the 6th century BC. Affluent Romans often kept their valuables in secure locked boxes within their households, and wore the keys as rings on their fingers. The practice had two benefits: It kept the key handy at all times, while signaling that the wearer was wealthy and important enough to have money and jewelry worth securing. Chinese lock and key from Yunnan Province, early 20th century With the onset of the Industrial Revolution in the late 18th century and the concomitant development of precision engineering and component standardisation, locks and keys were manufactured with increasing complexity and sophistication. The lever tumbler lock, which uses a set of levers to prevent the bolt from moving in the lock, was perfected by Robert Barron in 1778. His double acting lever lock required the lever to be lifted to a certain height by having a slot cut in the lever, so lifting the lever too far was as bad as not lifting the lever far enough. This type of lock is still currently used today. Diagram of a Chubb detector lock The lever tumbler lock was greatly improved by Jeremiah Chubb in 1818. A burglary in Portsmouth Dockyard prompted the British Government to announce a competition to produce a lock that could be opened only with its own key. Chubb developed the Chubb detector lock, which incorporated an integral security feature that could frustrate unauthorised access attempts and would indicate to the lock's owner if it had been interfered with. Chubb was awarded £100 after a trained lock-picker failed to break the lock after 3 months. In 1820, Jeremiah joined his brother Charles in starting their own lock company, Chubb. Chubb made various improvements to his lock: his 1824 improved design didn't require a special regulator key to reset the lock; by 1847 his keys used six levers rather than four; and he later introduced a disc that allowed the key to pass but narrowed the field of view, hiding the levers from anybody attempting to pick the lock. The Chubb brothers also received a patent for the first burglar-resisting safe and began production in 1835. The designs of Barron and Chubb were based on the use of movable levers, but Joseph Bramah, a prolific inventor, developed an alternative method in 1784. His lock used a cylindrical key with precise notches along the surface; these moved the metal slides that impeded the turning of the bolt into an exact alignment, allowing the lock to open. The lock was at the limits of the precision manufacturing capabilities of the time and was said by its inventor to be unpickable. In the same year Bramah started the Bramah Locks company at 124 Piccadilly, and displayed the "Challenge Lock" in the window of his shop from 1790, challenging "...the artist who can make an instrument that will pick or open this lock" for the reward of £200. The challenge stood for over 67 years until, at the Great Exhibition of 1851, the American locksmith Alfred Charles Hobbs was able to open the lock and, following some argument about the circumstances under which he had opened it, was awarded the prize. Hobbs' attempt required some 51 hours, spread over 16 days. The earliest patent for a double-acting pin tumbler lock was granted to American physician Abraham O. Stansbury in England in 1805, but the modern version, still in use today, was invented by American Linus Yale, Sr. in 1848. This lock design used pins of varying lengths to prevent the lock from opening without the correct key. In 1861, Linus Yale, Jr. was inspired by the original 1840s pin-tumbler lock designed by his father, thus inventing and patenting a smaller flat key with serrated edges as well as pins of varying lengths within the lock itself, the same design of the pin-tumbler lock which still remains in use today. The modern Yale lock is essentially a more developed version of the Egyptian lock. Despite some improvement in key design since, the majority of locks today are still variants of the designs invented by Bramah, Chubb and Yale. Each locks combination is determined by the off-set of two small wheel-like apparatus. The change in position of the wheels on top of each other creates a unique combination for the lock. Pin tumbler lock: without a key in the lock, the driver pins (blue) are pushed downwards, preventing the plug (yellow) from rotating Tubular lock: the key pins (red) and driver pins (blue) are pushed towards the front of the lock, preventing the plug (yellow) from rotating. The tubular key has several half-cylinder indentations which align with the pins Wafer tumbler lock: without a key in the lock, the wafers (red) are pushed down by springs. The wafers nestle into a groove in the lower part of the outer cylinder (green) preventing the plug (yellow) from rotating A warded lock uses a set of obstructions, or wards, to prevent the lock from opening unless the correct key is inserted. The key has notches or slots that correspond to the obstructions in the lock, allowing it to rotate freely inside the lock. Warded locks are typically reserved for low-security applications as a well-designed skeleton key can successfully open a wide variety of warded locks. The pin tumbler lock uses a set of pins to prevent the lock from opening unless the correct key is inserted. The key has a series of grooves on either side of the key's blade that limit the type of lock the key can slide into. As the key slides into the lock, the horizontal grooves on the blade align with the wards in the keyway allowing or denying entry to the cylinder. A series of pointed teeth and notches on the blade, called bittings, then allow pins to move up and down until they are in line with the shear line of the inner and outer cylinder, allowing the cylinder or cam to rotate freely and the lock to open. A wafer tumbler lock is similar to the pin tumbler lock and works on a similar principle. However, unlike the pin lock (where each pin consists of two or more pieces) each wafer is a single piece. The wafer tumbler lock is often incorrectly referred to as a disc tumbler lock, which uses an entirely different mechanism. The wafer lock is relatively inexpensive to produce and is often used in automobiles and cabinetry. The disc tumbler lock or Abloy lock is composed of slotted rotating detainer discs. They are considered very secure and almost impossible to pick with standard tools. The lever tumbler lock uses a set of levers to prevent the bolt from moving in the lock. In its simplest form, lifting the tumbler above a certain height will allow the bolt to slide past. Lever locks are commonly recessed inside wooden doors or on some older forms of padlocks, including fire brigade padlocks. An electronic lock works by means of an electric current and is usually connected to an access control system. In addition to the pin and tumbler used in standard locks, electronic locks connects the bolt or cylinder to a motor within the door using a part called an actuator. Types of electronic locks include the following: A keycard lock operates with a flat card using the same dimensions as a credit card or US and EU driver's license. In order to open the door, one needs to successfully match the signature within the keycard. The lock in a typical remote keyless system operates with a smart key radio transmitter. The lock typically accepts a particular valid code only once, and the smart key transmits a different rolling code every time the button is pressed. Generally the car door can be opened with either a valid code by radio transmission, or with a (non-electronic) pin tumbler key. The ignition switch may require a transponder car key to both open a pin tumbler lock and also transmit a valid code by radio transmission. A smart lock is an electromechanics lock that gets instructions to lock and unlock the door from an authorized device using a cryptographic key and wireless protocol. Smart locks have begun to be used more commonly in residential areas, often controlled with smartphones. Smart locks are used in coworking spaces and offices to enable keyless office entry. The sidebar lock operates using fins on a radial key that actuate sidebars that align with a cylindrical code bar within the lock. This is a new type of master key technology developed by the Australian Lock Company. The keys and the code bar are cut using a computer numerical control (CNC) machine. "Locksmith" redirects here. For the American rapper, see Locksmith (rapper). For the Marvel Comics character, see Locksmith (comics). Locksmith, 1451 A Chinese locksmith in Jakarta (Batavia) around 1870 A Chinese locksmith in Singapore, circa 1900 Locksmithing is a traditional trade, and in most countries requires completion of an apprenticeship. The level of formal education required varies from country to country, from a simple training certificate awarded by an employer, to a full diploma from an engineering college. Locksmiths may be commercial (working out of a storefront), mobile (working out of a vehicle), institutional, or investigational (forensic locksmiths). They may specialize in one aspect of the skill, such as an automotive lock specialist, a master key system specialist or a safe technician. Many also act as security consultants, but not all security consultants have the skills and knowledge of a locksmith. Historically, locksmiths constructed or repaired an entire lock, including its constituent parts. The rise of cheap mass production has made this less common; the vast majority of locks are repaired through like-for-like replacements, high-security safes and strongboxes being the most common exception. Many locksmiths also work on any existing door hardware, including door closers, hinges, electric strikes, and frame repairs, or service electronic locks by making keys for transponder-equipped vehicles and implementing access control systems. Although the fitting and replacement of keys remains an important part of locksmithing, modern locksmiths are primarily involved in the installation of high quality lock-sets and the design, implementation, and management of keying and key control systems. Locksmiths are frequently required to determine the level of risk to an individual or institution and then recommend and implement appropriate combinations of equipment and policies to create a "security layer" that exceeds the reasonable gain of an intruder. Full disclosure requires that full details of a security vulnerability are disclosed to the public, including details of the vulnerability and how to detect and exploit it. The theory behind full disclosure is that releasing vulnerability information immediately results in better security. Fixes are produced faster because vendors and authors are forced to respond in order to protect their system from potential attacks as well as to protect their own image. Security is improved because the window of exposure, the amount of time the vulnerability is open to attack, is reduced. The issue of full disclosure was first raised in a 19th-century controversy over the revelation of lock-system weaknesses to the public. According to A. C. Hobbs: A commercial, and in some respects a social doubt has been started within the last year or two, whether or not it is right to discuss so openly the security or insecurity of locks. Many well-meaning persons suppose that the discussion respecting the means for baffling the supposed safety of locks offers a premium for dishonesty, by showing others how to be dishonest. This is a fallacy. Rogues are very keen in their profession, and know already much more than we can teach them respecting their several kinds of roguery. Rogues knew a good deal about lock-picking long before locksmiths discussed it among themselves, as they have lately done. If a lock, let it have been made in whatever country, or by whatever maker, is not so inviolable as it has hitherto been deemed to be, surely it is to the interest of honest persons to know this fact, because the dishonest are tolerably certain to apply the knowledge practically;and the spread of the knowledge is necessary to give fair play to those who might suffer by ignorance. It cannot be too earnestly urged that an acquaintance with real facts will, in the end, be better for all parties. Some time ago, when the reading public was alarmed at being told how London milk is adulterated, timid persons deprecated the exposure, on the plea that it would give instructions in the art of adulterating milk; a vain fear, milkmen knew all about it before, whether they practiced it or not; and the exposure only taught purchasers the necessity of a little scrutiny and caution, leaving them to obey this necessity or not, as they pleased. — A. C. Hobbs (Charles Tomlinson, ed.), Locks and Safes: The Construction of Locks. Published by Virtue & Co., London, 1853 (revised 1868).