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Showing content with the highest reputation on 07/15/2017 in all areas

  1. 2 points
    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
  2. 2 points
    Hello! I would like to offer my latest knife. The story if its creation can be followed here: It is a knife with a blade made of four bars - wrought iron, patternwelded rod of 9 layers, wrought iron again and high carbon steel on edge.The handle is ashen, hand-carved in ringerike style, the motif taken and adjusted from an 11th century brooch. At the end of the handle is a wrought iron butt cap and a loop, housing a brass ring decorated with triangles made of punched small 1mm circles. Also, there is a leather strap to make the pulling of the knife easier. The sheath features an antler plate decorated in the same style, the motif coming from a weather vane found on Gotland. There is a decorated brass ring too, ready for a strap attaching it to the belt. The rest of the sheath is sewn using a hand woven flax string, and there are three wrought iron clamps to add a bit of a bling . The OAL of the knife is 22cms, blade length is 10,6cm. I am asking 500USD/443E for this one
  3. 1 point
    The scrapers that have been posted so far all have the handle in the plane of the blade. This design is, however, not very suitable to apply even pressure in the lateral direction (prone to left-right wobbling) and the tracking of the scraped line is not that good. I built a new one that has balls of steel - handles on either side of the tool, a universal slot that can take lathe bits and self made tools made of pieces of old files and a guide on either side that is free of any wobbling (made of brass to conserve the U-profile that holds the blade). With this tool it's possible to make fullers (even double or triple fullers as common in rapiers, which need very high precision), hollow-scrape blade bevels, and the fuller-like hollow shapes in the ricasso of rapiers and swords (up to a certain width only, I doubt it will work over 20mm width). In the following pictures I am doing a parallel fuller (the WIP of this rapier will come up shortly) which tapers along the length, yet stays parallel with just a slight ridge between the fullers. For this the blade is clamped at a slight angle on the jig. This jig is actually the same I use for all grinding, it has adjusting screws every 10cm, to level out the distal taper and ensure that the blade lies down flat on the surface. To have a crisp end of the fuller, I just clamp a mechanical stop onto the jig, so the scraper will always stop in the same spot.
  4. 1 point
    Hi guys, time for a new project A good Messer should be on the list of every HEMA enthusiats and also every sword maker. The tricky aspect about these pieces is the hilt assembly, it really takes a lot of careful work to get all parts to fit together well (regular swords are much easier). I have experimented with this when making the Rugger and I think I'm ready to tackle a full size Langes Messer now. This Messer isn't based on one original but rather takes several aspects that I like from multiple originals as well as Messer shown in fencing treatises, such as the double clip point (Paulus Kal). The proportions are what I consider pretty ideal for Messer fencing in the Liechtenauer tradition, a 71cm blade with an overall size of 88cm. Here is the profiled blank next to the full-size drawing: Stay tuned and Happy Easter!
  5. 1 point
    I think knowing the carbon content will help you determine the darkness of the etch. Higher carbon contents will etch darker than lower ones. Hence the 52100 or 1095 produces a very dark etch as opposed to a 1075, 1080 or 5160. As Alan said, the nickel content will help you determine the brightness. In the end though, even the darker etches can be lessened by removing the oxides left on the surface. Darkness of the etch and retained oxides are directly proportional. The more oxide you can create from a higher carbon steel produces the initial darkness, how you "fix" those oxides for retention determines the end result. This is why so many makers use a bluing method to raise the contrast in pattern welded steels. For instance, look at these two photos of the same 1095/15N20 blade. The first is after etch, the second after bluing.
  6. 1 point
    It's been quite some time since I've been active here, and I see I've missed a lot of good work. So of course I'd come here for the best advice I could hope for. I've been on a seax kick recently and have discovered I've been doing it fairly wrong. Mainly in regards to proportion. So a posting on a Facebook page reminded me that Peter Johnsson has done a fair amount of research on the his topic, along with George ezell, and Jeroen Zuiderwijk, and others. So I thought, why not ask here? Seems like a no brainer. This is my latest one I started on. Close to the Wheeler type IV, I began, on great advice of the previously mentioned, to play with Peter Johnsson's proportions. I think I may settle on a 10:7 blade to handle ratio. The blade length is 7 inches, which would put the handle at, including any bolster or plates, 4 7/8. The blade is thickest at 3/8, at the break. This is only rough ground and will thin out a little with the final grind. This is where I'm at currently, so any advice is welcome. I'm not married to any ideas at the moment. Though I am leaning towards a simple Masur birch handle with no other hardware. Thanks in advance. -Tim
  7. 1 point
    I think it looks great! And from a glance, it looks a bit like a triforce, but for those that play Legend of Zelda (I did years ago) it's really easy to tell apart. And nifty design
  8. 1 point
    So the blade is done. I had a mishap and knocked the blade off the work bench tip first into concrete, I ended up taking an inch off the total length to fix it. Luckily the piece of birch I selected for the handle was a perfect 1:1 ratio for the now 6 inch blade. VID_20170701_191927.mp4
  9. 1 point
    Here is the next video - watch me screw it up :-(
  10. 1 point
    So I kept playing with different handle lengths and I found that I liked a 6:5 ratio better. It also extended the handle length to about 6 inches, which falls into more historical dimensions. John Cook, Handle length isn't an issue to obtain. I have several boards I just cut what I need. This will need to wait a little while, I don't have a drill bit long enough to do the job. Once I get the stock I need, I'll make one and then we'll proceed.
  11. 1 point
    This sword was the most challenging piece I made so far and it really let me with a wish to achieve some more on my next swords. The blade was mainly made by stock removal, except for the tip and about 10cm of the cutting edge, as the owner wanted it to have some forging on it. It is 1070. Guards and pommel are made from a piece of British wrought iron from the Victorian Age and the inlays are brass. They are heavily inspired on the designs from a type S sword from Gjermundbu, Norway, but it is not made to look like the original. As some of you may notice it also resembles some interpretations of the Gjermundbu sword made by Patrick Barta, although I'm really far from his skills with inlays. At least I have the chance to practice more of this amazing technique on an actual piece, rather than on scraps and left overs. The handle is karelian birch burl from Russia, with one of the most outstanding patterns I've ever seen. The wood was ground to shape and then spent a whole week submersed in linseed oil for stabilization and it got this darker orange-ish color. On the scabbard I used pinewood and it is lined inside with natural wool. Outside I covered it with linen and then painted with very dark brown. The chape is mild steel and the belt bridge is maple wood and although it is glued with modern methods to the linen cloth for safety, the leather strips would do the job alone fairly well. I loved the final result and it really made me feel like a talented crafter, even with all the flaws it have. This excitement is the best part of being a blacksmith/bladesmith. As i usually like to do with swords, the is also a short tale I wrote about it that can be seen in my blog. Here is the link for this sword: http://vferreiraarruda.blogspot.com.br/2017/04/type-s-viking-sword.html Overall length: 94,5cm Blade length: 78,5cm Blade width: 5,3cm Blade thickness at the guard: 0,5cm PoB: 18,0cm Length of the grip: 10,0cm Weight: 1,240kg
  12. 1 point
    I spent last week at tannery pond forge in NH for Peter Johnsons sword class this is the result. A type XV sword designed based on Peters theory of geometric proportions. the blade is 1075 the fittings are 1045 the blade is 29" MP
  13. 1 point
    Okay guys, the blade is done. Petr it's all yours now. I'm looking forward to seeing what you do with it, bud! Here are some shots of the profile and the pattern. I'm pretty pleased with how this turned out. The blade has some really nice chatoyance when held in the light. Of course it is hard to feel how an unhilted blade will ultimately perform when fitted with a pommel and guard, but it feels pretty light and quick.
  14. 1 point
    Summer matures and evenings start to grow darker, but autumn is still only a distant promise. To me the season of harvest and turning leaves always brings promise of work and progress. A couple of weeks on vacation with family has ended and yesterday I got to finish a sword that has been a while in the making. It was initially intended for the knife maker show in Solingen this year, but I had to cancel my table as I got some warnings of my tendonitis rearing its ugly head. I stopped in time, but work was slow for a while. The sword is based on studies I have made on a few surviving swords in the Castillion group (a sensational find of some 70 or 80 swords in the Dordogne river. They reached the antiques market individually over a couple of decades. Some have found their way into museum collection and are so available to research and documentation). My sword is not a copy of any single sword in this group, but has borrowed details in the design from a couple different originals. It was still important to me that function, balance and heft were true to original swords of the same type. I wanted to make a long sword of medium size with a powerful and compact feel, in balance and heft much reminding also of another sword I studied many years ago: the sword of Svante Nilsson Sture. It has a pretty hefty weight but a very lively and responsive balance, that makes you think it weighs much less as you wield it. The dynamic balance is such that it can "turn on a dime" and provides an exact control of the awl shaped point. Total length is 119 cm, blade length 88,5 cm. Width at base is 5.2 cm and thickness 1 cm. Weight is 1.96 Kg (a pretty hefty weight for a sword this size) and point of balance 7 cm in front of the guard. Forward pivot point is right at the point of the blade, making the sword naturally "lock on target" as you move the hilt from guard to guard. The hollow ground cross section makes for a stiff spine and acutely biting edges that are sharpened in an apple seed shape. The point is sturdy and shaped like a leather awl with two sharp edges. A sword like this may be wielded in one hand from horse back but invites two handed use when fighting on foot. The quality of the photos below are not the best. especially the wip pics are crude snapshots taken with my phone camera. I hope to add a couple of professional photographs of the whole sword later on. One of the original swords of the Castillion hoard that served as inspiration to this project: Another Castillion sword with interesting decoration and file work on the guard, a detail I shamelessly stole and re-used on my sword: A german long sword from the end of the 15th that provided inspiration for the spirally cord wrapped and embossed grip: Some images showing some stages in the making: I use a set up allowing me to wet grind the blade after heat treat. This is of great help especially with hollow ground blades, where the edge otherwise easily gets overheated. Staying in the groove without the need to remove the bade for frequent dips in water is also helpful when grinding a long double edged blade. After wet grinding, hand sanding with a wooden block, first dry with 80 grit: ...Then progressively finer emery paper lubricated with canola oil: The pommel is forged roughly to shape to fit the dimensions of a mock up pommel made from plasticine. At this time I have decided what the final balance and weight must be, and can so calculate the proper weight for the pommel. Knowing the correct volume makes it possible to experiment with different shapes in plasticine and know that final weight and balance will be on target: I then drill a 10 millimeter hole through the middle, ending just shy of the top. This makes filing the fit for the tang less tedious work. To hold the irregularly shaped pommel, I first spot weld it to a square tubing that can be held by the vice. Then the pommel is ground and filed to shape: ..and fitted to tang: The guard is forged roughly to shape and a slot is cut to recess the shoulders of the blade. A proper fit is assured by making a special tool that has the same cross section as the blade: And shaping of the guard and its sculpted mid portion is made by filing: I did not capture the final stages in the making of this sword. If you are interested you can see this kind of work described in another post: http://www.bladesmithsforum.com/index.php?showtopic=15010 Thanks for looking!
  15. 1 point
    hi, here are some of my hamons- all in W 1 gerhard ps: making a hamon is fun- but taking pictures is...
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