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    • Alan Longmire

      IMPORTANT Registration rules   02/12/2017

      Use your real name or you will NOT get in.  No aliases or nicknames, no numerals in your name. Do not use the words knives, blades, swords, forge, smith (unless that is your name of course) etc. We are all bladesmiths and knifemakers here.  If you feel you need an exception or are having difficulty registering, send a personal email to the forum registrar here.  


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Showing most liked content since 04/30/2017 in all areas

  1. 6 likes
    I haven't posted a new knife on here in a while, since I have been making pretty much the same knife (with small variations) for the last 5 months. Boring. But here is something that I am happy to post. Much to my surprise, this knife didn't fight me at all. That's unusual, so I will appreciate it when it happens. The sheath pissed me of a few times, but you know, it can't all be great. It is Aldo's 1075 with some differential hardening, beaten and aged copper for the guard and domed pin, with Cocobolo as the wood. Blade length is 4.25" (10.8cm) with an overall length of 9.25" (23.5cm) Hope you like it!
  2. 4 likes
    FYRDRACASLAGA (Fire Dragon Slayer) By Owen Bush and Petr florianek. A Dwarf made hero’s sword for slaying fire dragons. In our discussions and musings, Petr and myself tend to think of our work as that of the Dark Elves (from the Nordic heritage) or Dwarves (from the world of JRR Tolkien) Working magic and craftsmanship together with the raw stuff of nature, these mythical artisans forge the weapons of legend for the gods and for mortal heros. The sword blade is made by myself and the handle, sheath and fittings are made by Petr Fliorianek (Gullinbursti) The sword blade is forged with eleven bars of steel, 3 fine twisted layers and 4 pin stripes along with two bold twisted star bars and high layer random pattern at the edge. The pattern plays with the juxtaposition between bold pattern and the finer flowing patterns of the edge. The stars patterns are set like jewels to catch a dragons eye…..come closer….come closer….. The blade has a shallow lenticular section. The guard and pommel are made in bronze (tin bronze) the style is dwarven. The pommel shows ancestor rage face and the guard has dragons to ward off evil. Runes of the pommel ferrule say ‘OWEN’ and ‘GULLI’, short for the Nordic Mythical Golden Boar Gullinbursti which is Petr’s avatar. Runes of the guard ferrule say ‘FYRDRACASLAGA’ (Fire dragon slayer) This is repeated on the strap on the scabbard. The scabbard is linden (lime wood). It is wool lined and covered in linen and then leather. There are bronze dragon heads and wrought iron fittings The rondell on the scabbard is Elk antler with a wyrm carving, there is a single garnet for its eye. The sword weighs 3lb 6oz and the point of balance is 14cm into the blade. Blade is 76.5 cm long and 6.5 cm wide at the hilt. Sword overall length is is 92cm. The sword feels powerful and purposeful. I am proud of this one Petr has (once again ) done a wonderfull job, using his mastery at bring this mythical blade to life. I hope you like it.
  3. 4 likes
    Zombie Cleaver aka "Apocalyptica" W2 steel, quenched in Parks. My first knife with scales. Steel and scales from Aldo.
  4. 4 likes
    This is a seax I finished last week. it is a multi bar of 1095, L6, and 15n20. The center core is a cinnamon roll of the same. The Stack from top to bottom on the picture is Raindrop pattern,15n20, raindrop pattern, 15n20, cinnamon roll, 15n20, raindrop pattern, 15n20, raindrop pattern. once I started forging i got some gaps between the cinnamon rolls so I milled them out and re-welded them with more pattern weld. forged it out and pretty happy with the pattern The blade fittings are pattern weld with a carved bacote handle with Turquoise inlay. I am new to documenting these things so i hope I shared enough. Thank you for looking
  5. 4 likes
    Time has passed since last updating. The scabbard for the second sword is also completed and should be shown here for full satisfaction and to bring this thread to a closure :-) This scabbard was made to be in a style that was still in use in the early 14th century when the sword belt was an integral part, laced through slits in the outer layer of leather. The manner of the lacing varied greatly. Finds of scabbard leather fragments show quite a bit of creative solutions and sometimes it can be difficult to make out exactly how it was accomplished. I often use a lay out for the lacing that I worked out some 30 years ago (Yikes!!) after looking at depictions in art as well as some actual surviving scabbards (very few remain!) and fragments of scabbards. The set up of the belts makes the sword sit at a comfortable diagonal on the hip. It should be carried with the contact point right at the hip joint. That way the sword will remain steady as you move around and will not flop around or get caught between the legs as you are walking (resulting in instantaneous embarrassment). The top belt end is cut in two tapering tongues. One is laced around the very top and passes around the back while locking itself in pace. The two tongues then cross at the front, locked by passing over/through a slit loop in the leather cover. They then pass diagonally to the back, crossing as they pass through slits in the lower belt and the scabbard cover, locking the lower belt in position. Finally the two tongues (by now tapered to narrow strips) pass to the front again and are fastened with a little square knot. This construction is sturdy while allowing for some motion between the belts and the scabbard. The decoration of the scabbard is inspired by finds of scabbard fragments from Leiden (Thanks to Marquita Volken for helping me to track down that article!). The lines are "cut" into the dampened leather with a bone knife. The surface of the leather is therefore not broken or cut through. It is a very simple method that relies on the decorative effect of the lines. When the leather has reached the perfect semi-damp state it is easily marked. Some care has to be taken not to scar the surface unintentionally. I also cut small quatrefoil and threefoil stamps for some of the details.
  6. 4 likes
    As a few might know, I'm moving soon, however I still have some forge time, or stock removal if we want to get technical. This little teenie knife was a practice session for both hollow grinding and doing a double grind (?) for the false edge. Learning a little, screwed up a lot. I usually don't hollow grind and think it's a new "fad" that people like. All in all I feel this little prototype (if you will) may have some hope for future sales. Let me know what yall think!
  7. 4 likes
    I finally got the handle done. I wanted to try something like the seax fittings from the Staffordshire hoard with faux garnet cells. I carved the fittings out of wax. One of the nicest parts of doing this is you can fit the wax to the blade, which is way easier than doing it in metal. If you cut away too much you can just melt more wax in and reshape. The bronze shrinks about 2% when it cools so you have a nice tight fit with only a little bit of filing. These are the basic tools I used for making the cells in the collar. I cut the outline with the exacto knife, making a deep V-groove ( you can see one cell on the top that has the V's cut), then I use a very tiny half-round gouge to remove the bulk of the wax (oops, not in photo). The two scrapers in the picture are what use the flatten the bottom and square up the walls. I use the thin one to set the depth at the edges, and the bigger one for flattening the bottom. When done, I put them on a wax tree and cast them. I had some pictures of that but they keep failing to upload :-\ These are the cleaned up castings: For the garnets I used Colores epoxy from Rio Grande with the Durenamel hardener so I could sand it afterwards. It was a painful process and I'm still working out how to fill the cells on non-flat pieces. Once i get it figured out I'll post a demo. Hmmm... time to reboot as all the picture uploads are failing. More in a bit. So between the ferrules i did two chunks of bog oak with a moose antler ring in the middle. I cut the hole for the tang through the blocks first, the fit the ferrules and the antler ring . after the parts were all together I cut the block down to it's rough shape. Besides a belt grinder and a drill press, I mostly uses rasps and japanese wood files to shape the bog oak. I Next I carved a knot pattern in the bog oak. I laid out the pattern just like I do for wax - get it sized and a laid out on paper, then use spray adhesive to attach it to the piece. Cut the pattern lines in through the paper, then remove the paper as you carve: Because of the boar on the end of the handle I couldn't peen the tang over to hold the whole thing together. So what I did was thread the end of the tang, drill a 1/2" hole in the end of the handle to accommodate a washer, and put the whole thing together with acraglass and a nut. To attach the pommel I cut grooves around the inside of the ferrule and the tenon of the bog oak. You can see them in the picture above. My thinking was that when the acraglass dried even if it didn't adhere to the pieces it would harden into a shape that would lock in place. But being paranoid about strength I also pried out 3 of the faux garnets and drilled hole for 3 small nails. I hammered them in with a punch, refilled with garnet epoxy, and they were basically invisible. The final product is 28.5"/ 723mm overall, with a 19.75" / 500mm blade. It weighs 1.6 pounds. Next is the sheath...
  8. 4 likes
    Here is the latest Axe I have finished. I started it last year whilst working along side of a student who made a dane axe from riggers shackles. A damascus Dane axe, low layern Body folded and punched and then a high layer edge . Materials 15n20 and en42J... The material follows the shape of th eye and although the axe is folded I completly forge welded it and re punched through the material. The higher layer edge is wrapped over the lower layer core material. I wanted tight subtle pattern in the edge and a bold body.
  9. 4 likes
    An order came in for a 9" Bowie with Sambar stag handle and a split ring guard. As far as I know the only maker that produces this style of Guard is the ABS Master smith David Lisch. I contacted David explaining about the order and asked him if he would mind if I attempted to make this style of guard for this Bowie. David got back to me and being the gentleman that he is said, " if you feel that you can do it, I say go for it". The blade steel is EN42J (AISI1080), blade... length is 235mm with a full flat grind, blade width is 43mm, thickness on the spine is 6mm and an overall length of 370mm including the pommel nut. The blade has had clay applied to give a differential temper line when quenched. The hand guard is a split ring in the D Lisch style with vine file work, thorns and a clam shell filed into the top. There are also three smooth brass spacers between the blade and the bolster. The gun blued bolster has a thin nickel silver line running through it's centre. The Sambar stag handle has been left natural and cleaned back to reveal more of the white antler. The steel butt cap is gun blued, filed to match the flutes on the antler and held in place with a gun blued pommel nut. The leather sheath is a Mexican loop style dyed golden brown. The main body of the sheath is golden brown and black with a python skin inlay on the front panel and a Sam brown stud and keeper strap. Thank you for taking the time to look gents, all comments and critique very welcome. All the best Steve upload pic upload pic upload pic upload pic upload pic upload pic upload pic upload pic upload pic
  10. 3 likes
    I started this sword last Jan In Peter Johnssons sword class at tannery pond forge in NH. I got is as far as as rough assembly then it sat untill I had time ... well i decided to take the time and get it finished for my table at blade show in june, the blade is a little over 500 layer random pattern damascus of 15n20 and 1080, the furniture is nicely figured wrought and I set two 12mm carnelian cabochons in the pommel . the grip is a maple core with cord and leather wraps. the sword is a take down, and is held together with a pommel nut, that is shaped to appear as a peen block. enjoy, and you can check it out in person at table 21-o. Enjoy guys, pro pics to come
  11. 3 likes
    I'm just back from a 5 day sword making class at Mike Bell's Dragonfly Forge, which is in southern Oregon, near a little town called Coquille. I met Master Bell a number of years ago at a workshop in the Seattle area. He is a great teacher, and he's always remembered me and encouraged me to take one of his classes, so finally I was able to. Dragonfly Forge is out a twisty 2 lane, and then up a steep and winding gravel drive. I'm not one for pictures, and anything I could have taken would hardly capture the scene, so you'll just have to use your imagination. The house and forge look out at a river estuary filled with birds, perched about 300 feet up the side of the hill, in the middle of 20 acres of timber. We got to look at a number of old swords (Mr Bell restores and appraises swords) and pictures of swords, and talk about swords, all of which was cool. On the first day we took 1.250 cable and consolidated it. Except for my piece, of course, which failed 4 attempts to get the second weld. They were able to find another piece left over from another class, and we went with that. Some times you get the weld, some times, the weld gets you. We drew out the billet, cut and hinged it, and rewelded it 5 times. From there we hand forged the sunobe to shape. My fellow student (there were just the two of us) made a common style called Hira Zukuri and I chose a somewhat rare style called Shobu Zukiri (Iris Leaf). I did spend a lot time picking up a new language to describe what we were trying to do, so don't think this is something I'm fluent in. Day 3 was grinding and refining the shapes, mine is a little narrow across the Mune, but looks nice. I did a lot with a file, as the shaped are complex, in relation to my normal work, and I didn't want to screw them up. As you can see, it's just about 16 inches, which I guess makes it a wakizashi, rather than a tanto. Day 4 was slow, which gave us plenty of time to talk and look at swords (Oh, NO! Don't make me look at 500 year old swords!) It took a while for the clay to dry. Day 5 we water quenched, finished the rough grind and started on the polish, traditional water stones. Guess I'm going to have to get some stones, huh? Master Bell getting ready to HT I just got a little bit cleaned up on the stone before it was time to leave And the obligatory class shot. Master Bell, my fellow student Kyle (I'm not sure I even heard his last name, and if I did, it was driven out by all of the other stuff I was learning). That bearded troll is me, and some of you may recognize the famous TV star and winner of Forged in Fire, Gabe Bell. So that's how I spent my week. As this one progresses, I'll have some pics down the line. Geoff
  12. 3 likes
    You know I have started a response to this three times now and I can't seem to find the words to answer this in words, that does not cross the lines of out of bounds conversation on this forum. However I am going to try one more time! I will tell you, that you can expect more and more of this! We have become a nation of individuals that our lives begin and end in our own little worlds. We no longer have the ability in our thoughts or vocabulary that actually allow us to see each action and judge that given action on it its own merit. In our attempt to make those little worlds we live in safe, we condone thoughts and actions that are not our own. Burying your head in the sand, no matter which side of these kind of issues, your thoughts fall on will not help. You have to stand for what you believe! I am going to throw something out there and it will probably make some mad but, that is not my intention! Americans increasingly moved into cities over the course of the late nineteenth and early twentieth centuries, a movement motivated in large measure by industrialization. Eleven million people migrated from rural to urban areas between 1870 and 1920, and a majority of the twenty-five million immigrants who came to the United States in these same years moved into the nation’s cities. By 1920, more Americans lived in cities than in rural areas for the first time in US history. When those folks began to move to the cities they began to create generations of children who knew nothing about what it was to know the things folks grew up with in the country. Where everyone knew their neighbor and when it was needed, a world where neighbor helped neighbor. They new what it was to live off the land, how to handle a gun, or a knife, in a safe manner. Their groceries and everything that was there life came from that city and for some, they would be born live and die in those cities. The one thing that cities really did for this county is too give, the lazy, sorry individuals who didn't want to work a place where they didn't have too. Now the people were concentrated in one area and if that lazy, sorry individual, didn't want to work,..... they didn't have to. They just took what they wanted and they did not have to go far to find another victim. Think about it a minute before you get mad about this! I am old country boy and proud of that, I can be just as hick as the worst hick you ever meant or I can be a much more refined person, (the later, usually makes my wife happier with me). However as a county folk I learned at an early age, how to handle a gun and I was carrying one of my Dad's old pocket knives at about 6 yrs. of age. I was taught right and wrong and not to talk back to my elders. I was taught that a loaded gun was to be respected and never point one at anything you did not intend to kill. I lived in a small town and I knew everyone and everyone knew me and my parents and if I did something wrong, my parents knew it, before I got home. My parents lived in that same home and never locked their doors. Till they came home one night and someone ran out of the house, (that would have been in the late1980's). I knew what it was to work hard for a living. I worked on farms, doing whatever was needed. Then at the age of 14, I went to work form my Dad doing a man's job in the construction field. I was expected to keep my grades up but when not in school I worked!! I went into service, (US Army) at age of seventeen right after graduating from High School ! Still proud to be a county boy and because of that not understanding what it meant to be raised in a city! I never in my life realized, until l had been in Uncle Sam's Army for about 3 months that anyone could be citified to the point of, not knowing or understanding what I knew, and I guess I took that for granted! I was assigned to the 46th Engineer Battalion. They were the unit that went into Vietnam, Iraq, to build the roads for the rest of the troops to fight on. We trained for war all the time. It was our mission to have everything we needed for our unit and the other three units that supported us, to the docks and aboard ship, ready to ship out in 72 hrs to go over seas and fight! We trained for this all the time and often spent 2 weeks or more in the field, sometimes once a month but, never more than 3 consecutive months went by that we were not in the field, sharpening our training! Anyway back to the subject at hand, while on a training mission in the field. This young man who was in my unit, knew I was an old country boy. He walks up and opens his hand and asks me. What kind of berries are these. Looking down I had to laugh. Boy, those aren't berries that is deer shit! That is the first time I realized how citified one person could be! We talked and he told me the only time he saw farm animals was in a zoo! I watched him pick a fight with another guy in the unit, all because he was from one side of Philly and the other guy from the other side of Philly. I began to understand where his world was from!! So you see as a country boy I can see both sides of this fence. I know what it is too be raised around guns and knives and none of that scares me! But those that have lived for generation upon generation, in the city. They know only the city side of things. They are scared to death of the crime rate and now-days they have become the part of the generation, looking for the easy out on that crime. They think if guns and knives are done away with well then everything is gonna be OK. What they don't see is they are missing part of the equation.To achieve the result they are wanting, (peaceful cohabitation). They have to get rid of the element that is too lazy to work and prays on everyone for their share of the pie. Learning to know your neighbors and not turning a blind eye to the criminal action you just witnessed or saying its not my problem or I am scared. That is exactly what the criminal element is counting on them doing!! Know your neighbors, watch over them and when you see something, say something, or you may very well be the next victim. Now the whole point of this was not to say because you are a country boy or a city boy, that either one of you are right or wrong!! It's too show their are two sides to this and if neither side reach's out to other and both sides do not,...... keep an open mind, nothing will be solved!! Yep, they are scared and so,.......... political correctness becomes the way of stopping what they are afraid off. Their action is too say we won't have it on "our site". Now that was the key words in that sentence, "their site" ! If you want to change how things are then you have to reach out on "your venue" and intelligently trying to express your opinion! I say this because you are not going to get any of them to listen, when you get your "county boy" on! I know because as soon as I slip over into that mode with my wife, her ear muffs go on and I might have, the absolute most sound argument you have ever heard but, she quit listening 30 minutes ago!! Now I wrote this not to say the country boy is right or the city boy is wrong. I used that analogy to say, all of us want to be safe in our own homes and our lives. Realizing how to accomplish this comes with two trains of thought and I am not saying either one is right, or either one is wrong. There are two points of view out their and neither of them is going to reach the other with out first extending their hand and saying, can I talk to you for a minute!!! There is a time and place for that conversation and it is not here! Those forums that morph over into political conversations or religious conversations are usually just a mess! While I may agree with it being a shame that this type of thing happens! If you don't want it to go in that direction, educating and talking with the other side, why you feel as you do is the only way you will change it!! Doing it on a forum that is dedicated to knife-making, is not a good idea!! We probably all agree with that sentiment!
  13. 3 likes
    You're certainly not the first to think of that, but the problem is that you want water first, THEN oil. And that's only for a very very few steels. You want the first part of the quench to happen quickly, then slow it down. The pros use Parks 50 for this, because that's what it does. The cheap use water then oil and risk cracking. Mixing the two as you mention is just asking for trouble in that a water-hardening steel may cool off enough as you're plunging it through the oil that by the time it gets to the water it has not hardened. Or worse, it HAS hardened and the shock of water makes it crack, which is what will happen to most steels.
  14. 3 likes
    If we knew we would all have good equiptment! Dont get overwhelmed by what some guys are using, you can make a sword with a charcoal fire, a big rock, and some files. Get a burner and regulator from atlas, the 30k will do but the 50k might be better. Get good files, don't go cheap there it's a waste of time, Nicholson files made in Mexico suck, I have a bunch of old USA made ones and they work even though I got them used. It's not Mexico's fault, it's all Nicholsons dishonesty, they shouldn't be selling files if they forgot how to heat treat them. see, they have all the big fancy tools and heat treating equiptment and it's not worth a darn. Dont get anything that looks like an anvil and is affordable unless you ask us here about it, my friend surprised me with a 50 pound anvil from grizzly and when I tried straightening a mini sword blade with light taps at forging heat it dented the steel horribly. Now my friend basically wasted his money trying to honestly help me and It's not an anvil, it's softer than hot steel and grizzly is on the other side of the Internet so I don't have anywhere to shove the anvil if you know what I mean. It's the most heartbreaking chair I own. Check out old world anvils website, they have some nice stump anvils. My anvil is a big iron weight for a stage curtain, I found it years before I started forging, finding an anvil for cheap is pure luck. Stay away from cast iron!!!!! Real cast steel anvils are great, I imagine, not having used one, they are expensive as well. Make your own furnace if you can, or is it a forge? Anyways, if you can make a sword you should be able to make lots of other things as well, blade smithing/knife making is made of lots of different skills so you will be learning a lot of useful things you can apply to other parts of your life. Mostly just super gluing cuts closed and other sketchy things.... Theres still hammers, tongs, sandpaper, grinders, forging dies, torches, wood, etc... but most importantly there is a search function on this site and on others. You see how willing we can be to waste our time to try and share the magic with you and the thousands of others that have maybe seen a couple episodes of forged in fire and asked the same question? you won't be grouped with them anymore if you stick with it. Start with a knife, I make miniature swords sometimes, you will learn most of the skills you need to make a sword quicker by making something reasonable. dont give up if blade smithing is right for you, it didn't just take me thirty minutes to write this out, it took me thirty minutes and all the years I've spent figuring it out. It's not just about making sharp things, if it were I would have been forging a blade instead of trying to help you. Im not trying to be discouraging but use the search function and know what your getting into. The search function won't tell you all this weird stuff I'm saying and that's a big plus too. Good luck, you will experience so much more than just blades if you choose to continue, holding an honest blade allows you to communicate with the world and your self in ways you can't do otherwise.
  15. 3 likes
    Hi guys, here the finished knife, with a simply carving on the handle. Wenge wood is not good for detailed carvings. [/IMG] [/IMG] [/IMG] Hi C Craft, if i burn the antler, i take a handtorch. I cover the wood and the blade with a wet cloth. I use the torch on min. flame and i do it slowly. First, the outer edges was withe, to withe. So i burn the outer edges to. Ruggero
  16. 3 likes
    I have decided to post the entire making of the Blue Ridge Seax on YouTube. It is free for everyone to watch it. Here is the link: The Blue Ridge Seax
  17. 3 likes
    Nice work professor! I really like these. Those wharncliff blades look like excellent users for the garden/orchard work. I really like that clip point. Looks like a good working blade and is a very serviceable size. But, that puukko (sp?) blade......well that is the best of the bunch right there. Really nice lines. I love the wood grain and the simple yet elegant form. Well done sir! Now about those sheaths........... Here are a couple of tips for getting a simple sheath to look the best it can. Stitching: A groover and a wheel spacer go a long way to getting the stitches looking clean and uniform. Once you set the groover and cut the groove, run the wheel through it. This leaves a little dimple where each hole goes. Now take a 5/64" drill bit and using your grinder (I use the disc) and a fine belt (220 or finer). Chuck the drill bit in a cordless drill, put the drill in reverse, turn the grinder on and put a nice tapered point on that bit. Now put the bit in a drill press and drill through the sheath (all three layers) at each dimple. The 5/64" hole fits a 000 Harness needle and waxed thread really well.
  18. 3 likes
    The endpiece is glued and the handle sanded. [/IMG] Ruggero
  19. 3 likes
    Hello, I just wanted to show latest project. I know its not a blade but just wanted to share Hope this is ok. Hand forged helmet inspired by Gjermundbu find. The spectacles and the frame made from 2.5mm steel, the main plates and the cheek plates made from 1.5mm steel. Brut de forge finish. Thank you Jacek
  20. 3 likes
    Good day, my friends!I want to offer some mosaic blades. All blades are hardened(58-60HRC) and polished. Cutting edge is twisted pattern.Steels:1095+O1.Body is made of 15n20+pure nickel+1095 1)125*28*4.5.Price 100$+shipping 2)125*32*4.Price 140$+shipping
  21. 3 likes
    Now for a morning tip as I sit here, not working on anything, but looking at pictures. One thing I tend to do rather than just look at the knife in my hand and see what needs to be fixed is to take pictures. I'm sharing these as a WIP, but a lot of them are more for my benefit than yours. Yesterday evening on facebook and instagram, people ooooh'd and ahhhh'd over the picture of this guard reflection and how seamless the fit is where the coined edge of the spacer meets the guard. Blow the picture up and clarity starts to betray faults that the naked eye can miss after long hours of staring at the same piece while you're working. No fancy camera, just an iPhone 7 Plus.
  22. 2 likes
    Hello everyone. Forged Roman gladius (Pompeii). One of my favorite builds so far! I'm sorry to see this leave my shop and go to its new owner. Steel- 5160 Wood- Walnut Handle- Elk antler Overall Length- 28.5" Blade Length- 20.25" Blade Width- 1.8" Point of Balance- 2.5" from guard Weight- 1lb 11oz
  23. 2 likes
    I haven't posted in a while, but I have not been idle with my time and have spent some valuable energy in practicing my fit and finish and here are the results. I started this one in March or April and have been slowly plugging away at it. It sat for the longest time because the HT left a wiggle in the edge, which I finally buckled down to grinding. The blade is a san-mai construction of 1095 and structural steel (crap??? who knows xD). The handle is wenge, zebrawood, and walnut which were finished to 600 grit and sealed with lacquer then oiled. I had a few troubles with the chippiness of wenge, but just working slow helped to prevent too many mistakes. I have a few WIP pictures, but unless someone wants to see them, they aren't exactly fantastic works or art Now for the specs! Blade is 165mm along the edge and is 300mm overall. The blade is approximately 50mm wide at the heel and the distal taper goes from ~4.5mm at the handle to 2mm at the tip and down to a zero edge. While my pictures may not show it very well, there is both a weld line and a quench line from the 1095. My makers mark was accidentally ground from the blade, but it's still barely there. Thanks for looking!
  24. 2 likes
    This is number 2 of 3 single-hand war axes that I have been working on lately. There is more information about this project on my website: Single-hand War Axe
  25. 2 likes
    I found way to fix the action (note: not for the faint of heart) The razor blade allowed me to open up a bit more space. This did three things: freed up the action so all blades close properly, introduced a bit of play to the sheepsfoot (the other two are still rock solid), and made it so that the peened pins don't blend in to the bolsters very well. Overall, I would rather have those cosmetic defects that a knife that doesn't have a proper bias towards closure. Now for the glamor shots: Some time in the future I'll try this again and see if I can't keep that problem from happening. Despite a few small glitches, I think this knife will be my EDC for quite a while! Thanks for looking and following this thread, hopefully it can be useful if someone else wants to try something like this in the future.
  26. 2 likes
    Hi Guys, here the last knife for the medieval market this weekend. Blade from old agricultue machine blade. 110mm long, 27mm high and 2.8mm thick. Etched. Handle from red deer antler tip. [/IMG] [/IMG] [/IMG] Ruggero
  27. 2 likes
    Forged this from a Nicholson file. Whitetail antler scales peened with brass welding rod.
  28. 2 likes
    Thank you everyone for the nice comments; I do appreciate all of them. You guys tend to reinforce the ideas I have about knifemaking since you tend to notice the things that I love to put into my knives. Good looking out guys. I use Liver of Sulfur. Get some really hot water, and mix the Liver of Sulfur in. It will be yellow. Either submerge the piece or paint it on with a qtip. It will turn blackish. Let it sit for a bit and then I usually wash it off with cold water and rub dry. Take a piece of 0000 steel wool and gently rub the piece. The patina will rub away in the high spots and leave the patina in the low spots. Thanks Collin, those are great compliments. And you get what I am going for and the fact that you see it and I have been able to communicate it makes me happy. Thanks man Honestly, I have been wanting to make a seax for a while now. Once I have worked my way through my commissions list, I wager that will be something that I get started on. Sure Chris, happy to oblige. Thanks for the compliments!
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    I put the blade into a PH Minus bath to eat off the scale while I made some lunch: Here it is after a tasty grilled cheese sandwich: I rough ground the blade, and covered it in anti-scale compound for quenching. I was concerned about the quench because there is a hint of a weld inclusion along the spine. However it held fine in the quench, and rings like a bell when flicked with a finger. The blade is in the oven for a first temper at 350F right now.
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    I finally finished one. Or, at least close enough to show y'all. There's still a little but of polishing to do, filling in a couple gaps where the epoxy didn't make it, and a couple more coats of teak oil. She's tiny, but had lots of attitude. Bit me good enough to need more than a bandaid twice. 4 3/4" oal, 1 1/8" edge, 1/8" at the spine. Full flat grind into what I think is a convex edge. Bed frame, oak flooring, and salvaged copper wire for pins.
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    The best steel for the job is usually the one that you are most competent in heat treating. Often customers who ask for a specific steel do so from a small amount of second hand knowledge thinking that it is the type of steel that makes for a quality blade and not the skill of the smith. Use your favorite steel and explain to the customer why.
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    More progress! I use this angle iron with holes drilled in it to drill through scales that aren't flat. Clamp to the underside, and drill through the clearance hole. I marked and drilled 1/16" holes for the pins that hold the scales on and transferred the 3/32" hole for the spring pin. I assembled the knife and finish ground all the blades, then cut the swedges with a dull 120 grit belt. The swedges dress up the blades a bit, and also make more room inside the handle so the blades don't rub. The inside and outside edges of the handle now have their final machine finish. This also shows a bit how the swedges make more room. Using the wheel and slack belt, I blended the bolsters and scales. I really like how this bone looks! Things still to do: sand and buff blades, peen handle pins, polish liners and cut tang reliefs, make sure springs are ~0.001" thinner than blades, taper ream pivots, cut final pins, assemble/peen pivots and center pin, blend pivot pins, and buff handles. It seems like more when it's all written out
  33. 2 likes
    Longmire should know the name, but darned if I can think of it. looks great whatever you call it!
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    Thanks for the advice JJ...for me this is a learning experience to stretch my skills and knowledge....so I may just fall flat on my face and give it a try for the sake of curiosity just to see what the results look like
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    The Backwoods Sheepsfoot. This was designed as a tough all around camp and utility knife, with a little file work for flair. 3/16's 1084, 8.5 inches long with a dark green and black micarta handle. Its remarkable balanced, the COB is just at the back round of the finger choil. I'm really starting to like this paper micarta. Tough as nails, especially when buffed up, but so easy to shape and grind.
  36. 2 likes
    Drill a small hole in each tang and hang with wire
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    Here's a visual summary of my sharpening setup: Lindsey templates, a WorkSharp with Lindsey diamond discs stuck on the glass wheel, and an extra-fine sharpening stone for touchups. The templates are designed to work with a 1/2" high stone, so I put a wooden shelf on the worksharp 1/2" down from the disc so the templates have something to sit on. It's a $140 ($100 workSharp + 2 $20 lindsey discs) hack that gives you 90% of the function of a $800 GRS power sharpening system.
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    Here's something from my latest blade. Full post here:
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    For 3 plus years and 27 knives you are slaying it. Your dedication and education from the masters you are working with shows. I've been making for 10 years and have gotten no where close to this level of work. I'm glad you're posting.
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    Just so there's no confusion. I'm a novice. I've been making knives for three and a half years. At this point I'm about to pay my dues and rejoin the ABS and start back on the track to getting my JS stamp. (long story short, frustration led to a hiatus) What you're seeing in these pictures is research in action. Some guys want the answers laid out for them every time they ask a question. I chose to read. I've read through countless WIP threads and filled in the blanks. I've learned from the best even if only through pictures. And others I've had the blessed privilege of talking to in person and over the phone and messenger. I've picked up tips upon tips from amazing people that saw that I was putting forth an effort and not just begging for the secrets of the world. So when you see something that you might have done different, I'm all ears. This is Work In Progress as well as Learning In Progress as this is the first time I've ever attempted a full sized dogbone like this. The bowie I posted last week was my 27th knife. All the rest are in this little photo except for two of them. I'm nobody, but this should serve as an example. If a nobody can do it, what are you holding back.
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    Here is the last episode. My etching and polishing is pretty standard. I'll write it up later.
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    This bricks are not only useless but also heat sinks so they do harm. All really is needed is some 1/4" round v shapes to support the blade if anything. despite what some who haven't built one might say, 1" of wool is more then sufficient, with safety really the only reason to coat it. Again keep in mind the use of wool and not hard firebrick, wool being reflective and hard brick being absorbative, use a coating that will not take forever to heat up. Also again, despite what some who it seems haven't built one would say, I found larger openings makes the whole setup more tune-able' it is a positive pressure system using an atmospheric burner like your weed burner. I choke off the top or open the top hole to adjust for the pressure and get much better control over how the heat "fills" the barrel.
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    Just finished a single-hand war axe made from wrought iron and 1080. More pictures and information can be found on my webpage: https://crownforge.net/category/news/
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    Thanks a bunch guys! I appreciate the kind words. Yeah, so the coffee etch... I'd been hearing a lot about it for a couple years. At first I'd been using the boiling water method to set oxides, and that's certainly better than nothing, but my results were at times still disappointing. Then I went to parkerizing after a deep FeCl etch, which really works great but also has its drawbacks. I think parkerizing will remain in my toolbox since it's so effective and I have the setup to do it now, but that 190f temp and the heavy chemical nature of it isn't right for every piece. Plus, it's very high definition but only will give a tu-tone look. So, since this sword has twist cores (great with parkerizing) but also hi layer edges (maybe too subtle for parkerizing) I picked this blade for coffee etch. After seeing an amazing Maumasi chef he'd brought to Eugene, that we talked about, I wanted to try it much more since the pweld in that blade was super high contrast with large black areas, which to me is the proof of any post-etch treatment. For kitchen knives, I'd rather use a food-grade thing like coffee than something like manganese phosphate as a finish. A friend and I on Instagram (Joseph Schrum, Halcyon Forge) were talking ss/carbon san mai, and he shared his method with me that has gotten him good results. I've just used it on this piece in the same way. I got two large containers of Great Value medium roast instant coffee at Walmart, and boiled up two gallons of water, and stirred the coffee in. It was horribly strong. I let that cool. Meanwhile, I etched the blade to a fair depth in my ferric chloride tank. I scrubbed the oxides off with a toothbrush, neutralized and water rinsed, and lightly wet-sanded the tops of the shiny bits. I put the blade into the cold instant coffee. It hung in there for about six hours while I went and did other stuff. When I pulled it out, it just looked nice and hi-def with black oxides from the coffee on it. Didn't affect the 15n20 at all. I had to take the nail polish off my logo and barely sand that a little with 2000 grit, at which point I noticed the oxides would still wear away if sanded, so it's not quite as tough as parking, at least for my first attempt. The main thing is you can get your blade nice and deep etched, with shiny highs, and put it in the coffee to blacken the lows, and when you pull it out it won't need any more sanding etc. I just neutralized with windex, water rinsed again, wiped dry, warmed it and oiled it, and while super black in the lows, no oxides were coming off onto the paper towel while oiling it. To me, that's success. I hate when oxides will keep wiping off at the end! Any questions, lemme know... C Craft, that machine is an 8x24" Abrasive Model 3B automatic surface grinder- actually Geoff Keyes and Michael Pikula both have the same one! I modded it to run a contact wheel and belts. Works super great for billet work, and for san mai stuff.
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    Thanks man! OK, now a few more shots, and bedtime. Finishing the grinds up to 400 grit on the grinder, and thinning out even more towards the tip, to make it faster... Hand sanding... Everything now up to 400 grit, hand rubbed. Fittings are fine wrought iron, very light slag streaking- it ends up looking almost like cast pewter when etched.Kind of, dare I say, tactical? Logo etched and masked... Making stupid strong instant coffee, 2 gallons, for the finish. My first try at "folgerizing." After depth etch in FeCl, into the super strong cooled-down instant coffee. Coffee etch was kind to the blade, good contrast and easy to finish. Black oxides not wiping off with oil. A success! Cold-peened the tang end down tight with hammer and punches. All went well... now it's done but for sharpening. That's all for now, finished pics tomorrow!
  46. 2 likes
    You certainly are scratching that itch for beautiful clean axes. I love that wrought body, so much character.
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    I try... occasionally I go one step beyond and take my stuff across town to ABS Mastersmith Dwight Phillips. It's one thing to try to find faults in your own work let alone having someone else pick it apart. Nothing hides from that man. I do it because nobody ever got better by having the world praise their junk. We improve by learning to either make less mistakes or by learning to fix the ones we make. Letting them go does nobody any good.
  48. 2 likes
    Very Nice (capital intended) Jacek. Beautiful work. Couldn't persuade you to do a WIP, could I?
  49. 2 likes
    Some more has gone into scabbard making for one of the swords of this thread. I added some leather to the top of the scabbard to make a ridge that will keep the belt knot from slipping. This time I choose to simply lay a second layer of leather on top of the existing one. I could have cut away the previous layer, but opted to keep it. The ridge is built up from layers of strips of leather that is glued in place and cut to form. The top layer of leather has its edges skived down and the outline cut so that it pretty closely conforms to the form of the ridge and allows a fold over at the top. The back is sewn together. It is put on wet and glued with hide glue. The front of the scabbard is decorated with acanthus tendrils in 15th century style. I start with making a rough sketch in 1:1 scale on paper to develop the lay out and composition. It is good to get an idea of size, form and rhythm before the final drawing is made. This time I drew the pattern onto the leather with a fine felt tip ink pen. It is permanent, but the lines will be hidden by the time the work is done. In the pic below you see the small swivel knife I made to cut the lines of the design into the leather. Since it is thin (1-1.3mm) the cut needs to be shallow. I want to make it with the least amount of effort and to have the tool to be easily manipulated. Therefore the blade is small and sharp and placed so that the point lines up with the axis of the pen shaped grip. After the pattern is cut, I dampen the leather is small sections and use a hot scribing tool (like a small blunt knife or blunt awl) to open up the lines. The leather is scorched and opens up with the edges of the cut being hardened and slightly proud of the surface. Next step is stippling the background, compressing the edge of the line that is opposing the floral tendrils. This creates an illusion of deep relief even though there is very little difference in depth between leaves and background. The leather is dampened before the stippling is done: a few drops of water from your finger tip is enough to cover a 2"x 2" area. You don´t want to soak the scabbard at this stage in your work, as it might warp or distort if the leather dries from being too wet. With the pattern blanked out by stippling the background, I return to make some more 3d definition of the leaves and stems. I do this by two methods. 1): The "secret trick" is to lift small parts of the pattern by the use of a small semi-blunt awl (with a point shaped like a bird´s tongue). The tool is heated in a slow propane flame to tempering temperature. Hot enough to slightly scorch the leather, but not so hot you burn through too easily. You have to experiment to find the right temp for the tool at hand and the leather you work with. Again, the leather must be dampened before you do this. The combination of damp leather and a hot tool results in the lifted portions becoming hardened. The effect is surprisingly effective and not too difficult to achieve once you have found your best combination of tool shape for the job and correct temperature. 2): while the leather is stil damp you can mould it with a polishing steel to further refine the shape of tendrils and leaves. You can add nerves , accentuate folds and slightly push or compress forms to create more "life like" organic effect. In the pic below you see the effect of moulding and how much you can lift the leather with the hot awl. You may also note the dark outline around the leaves from the light scorching of the cut lines. The whole process is about the plasticity of damp leather and the effect of "frying" and hardening it. Cuir Bouilli, you know... A closeup of the finished pattern after dying, treating with saddler´s leather fat and a generous helping of renaissance wax. Sword with scabbard: ...and now to make the scabbard chape: a thimble shaped metal mount at the tip of the scabbard.
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    I remember when I stuck my first good forge-weld and a Wisconsin smith (Jim English) showed me how to weld up a bar of pattern-weld...still have that billet. I remember forging my first knife blade with Paul Marx..still have the rough forged blade. I remember the day I got a lightbulb in the shop space (disused horse stall) I was allowed to work in....it was a good day. I remember when I put plywood walls on the windy side of the lean-to so the fire would not get rained on. Others are just a bit further down the path than you Chris...but it is the same path. Ric