The mark

The anvil, cut into seven pieces

The forge-anvil logo rebuilt from the canonical tangram set — two large triangles, one medium, two small, the square and the parallelogram. Each piece used exactly once, none overlapping.

on mill scale

on soot

Why a tangram

A tangram is a dissection puzzle: one square cut into seven pieces that rearrange into a figure. Nothing may be added, nothing left over, nothing overlapped — the constraint is the whole point, and a shape either resolves under it or it doesn’t.

The anvil earns the treatment because the original mark was already flat, faceted planes rather than curves. The palette and its light logic carry over unchanged: whatever forms the top edge is lit, the body below it sits mid-ember, the base stays in shadow. The horn survives as the parallelogram — apt, because in the original the horn is already a sheared wedge whose top plane sits below the face.

Which piece plays which part. Areas are in units of the small triangle’s leg.
Piece	Part of the anvil	Area
parallelogram	horn, lit top plane	1
small triangle	face top-right, lit	0.5
medium triangle	face body	1
square	waist	1
small triangle	base flare, left	0.5
large triangle	base, lit corner	2
large triangle	base front block	2

Verified: 7 pieces, correct canonical areas and side lengths, total 8, no overlapping pair.

At size

The seams stop resolving below about 24 px, but the silhouette — horn, slab, waist, base — still reads. Every piece is a flat fill, so nothing degrades on the way down.

What the seven pieces cost

A canonical tangram fixes both the shapes and their relative sizes, so some of the original’s proportions simply aren’t reachable. Three honest compromises:

The base is taller and narrower. The two large triangles are half the total area and can only meet as a 2×2 block, a bigger triangle, or a parallelogram — never the wide, shallow slab the original has. The small triangle flares the left corner to recover some width.
The horn is blunter. Every tangram edge runs at 0°, 45° or 90°. The original’s horn tapers shallower than 45°, so it cannot be reproduced; the parallelogram is the closest the set allows.
The waist is a single square. The original narrows continuously from face to base. Here it steps.

Two earlier arrangements were discarded rather than shipped: one put the medium triangle point-down and read unmistakably as a goblet; the next attached the horn at a single point, so it floated free of the face like a flag.