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Showing content with the highest reputation on 10/17/2017 in all areas

  1. 3 points
    1080 /15N20 twisted crushed W's with stainless fittings and Turkish Walnut handle. Tried to make the sheath match the handle.
  2. 2 points
    One of the traits this forum has that makes it unique in the world of forums, is the lack of "talking down" to people and belittling them publicly. These two comments are out of place here and should be redacted. Please keep your comments civil.
  3. 1 point
    There has been a bad rash of the sales guy in charge of this and I not being around at the same time for me to discuss this with him. I should be able to get numbers by the end of this week though. The biggest problem may be the payments. I may have to buy a lot of them myself, then sell them on my own. I certainly haven't lost sight of this project and will update as soon as I know what can and will be done.
  4. 1 point
    You are, as Grandpa would say, "in the cat birds seat". All that useful recyclable steel and probably access to welding gear. My mind spins with possibilities . I see your small anvil has a Hardie hole. With torsion bars and even a tire iron or two you could make some serious Hardie tools, cutoffs, fullers, spring fullers etc, appropriately sized. You can develop some serious gear for making hunting/edc size knives with that nice set up you have as well as building a useful skill set. I am completely optimistic (and wish I could have started off as well) about your first blade and where you could go from here.
  5. 1 point
    This will likely be the case for you. The only wrench that I have run on the spectrometer wasn't a Craftsman, but actually a higher end (I'm sure everyone has seen their trucks driving around to mechanics shops ). That wrench was only 1040 (once I got through the chrome plating and possibly a carburized layer, I had to grind through a lot to get a good surface to analyze). I would start by a triple normalize. The best way to achieve this is not with a magnet, but looking for recalescence and decalescence. The quench in vegetable/canola oil that is pre-heated to about 130F. The point of pre-heating the oil is to make it thinner and thus conduct heat better. Right after quenching you should do a file check on it. Give it a few passes with a file. You will likely have a decarb layer to file through that will be soft. If the blade hardened then after a few passes the file will start to skate rather than bite into the blade. If it doesn't skate, then it didn't harden. At that point you can either try quenching again in oil (in case you just didn't get it fast enough the first time), or move on to a water quench. If your wrench is something like 1040 then the water quench will harden it up enough to make a pretty decent letter opener. You may get lucky and the wrench may be hardenable though. In which case you should have an oven up to temp and ready for tempering prior to quenching, so as soon as your file skates you can put it right in the oven. Start low on the temper, as you can always go higher. If you use a toaster oven or kitchen oven, use a separate oven thermometer to monitor the temperature, not the one built into the oven.
  6. 1 point
    I’ve never worked with wrenches, but if it were me I would heat treat it like any simple steel... normalize by heating to non magnetic, let it cool to black color, repeat 3 Times. On the third time let it cool to room temp. Next heat the blade just over non magnetic and quench in veggie/canola oil. Next temper the blade in your oven two 1 hour cycles at 375-400 Fahrenheit. It’s probably not made of a great steel but why not give it a shot? It will be good practice for when you buy known steel. (Which will most likely to be a simple steel) it really doesent matter since it’s your first blade, but it would be good practice to heat treat at night so that you can see the colors of the steel. Good luck!
  7. 1 point
    Some of you may know this and others not, but each year I like to do some type of Halloween themed knife, and while it may be early on yet in the year, I wanted to make sure it was done in time for this Halloween. A few years back I did my Van Helsing Bowie which was based around several elements of the Van Helsing legends/ stories. This is what I had come up with: Pretty much from the moment I finished the Van Helsing bowie I wanted to do its brother in the style of Dracula. Each time I attempted this project I found my skills lacking for what I wanted the end result to be, so now three years later I am making myself finish the set. Now due to having other paid work to complete this project will go in fits and starts, but at this point the blade is successfully heat treated and ready to be polished and etched. I started this project over two months ago and only have time to work on it a few hours at a time, but by hell or high water I will have it ready in time for Halloween! Now with all of that being said the name of this bowie (as the title of the thread suggests) is Voivode which was the title of Vlad Dracula a.k.a. Vlad the Impaler. Voivode translates roughly to prince or ruler in the native tongue of that time in the kingdom of Wallachia. The styling I will use on this knife is a blend of the historical Vlad Dracula and the modern myths around the figure. Hopefully everything will come together in such a way that it will embody the character we all know from tales of horror. So without further ado let's get cracking shall we? This whole blade will be forged in a multi-bar construction from 1084 and 15n20. There are two billets that will comprise the edge, one being a jelly roll and the other being crushed W's. First the billet for the jelly roll is welded, drawn down, and rolled up.: It is then welded together, cut, etched (to check the pattern), then drawn down to 1 1/2" x 3/8" flat bar. Next we start on the W's billet: I drew this billet down and re-stacked it six times to achieve a low layers Ws, this was then drawn done to 1" square and twisted: Each of these bars were 4 1/2 inches long and drawn down to 3/4" square. I then cut two pieces of jelly roll billet to a matching length. I then took a piece of the jelly roll billet and cut it in half length wise. Then with the top bar of JR in place it is fully encasing the crushed Ws: After forge welding, this is what the bar looks like. In the future with this type of pattern I think it would be wise to increase the thickness of the outer layers as they ended up getting a bit thin. I then cut this bar in half and welded it to its self: I then cut this in half and forge welded it again to give four bars. And that completes the edge bar.
  8. 1 point
    I just did this little adjustment on my phone. I think maybe ditch the finger groove and instead go for a very slight palm swell. So, contrary to my poor drawing it would'nt get bigger in the back, but sort of flow into the guard better.
  9. 1 point
    Chris, When I'm working with handle material like ivory I will either simply glue the pins (after grinding them with an 80 grit for extra glue surface) or use a head spinner depending on whether I want a flush surface or not.
  10. 1 point
    2 of Frosty's T burners may be too much in terms of space. https://www.iforgeiron.com/topic/43976-t-burner-illustrated-directions/ That thread on ifi has all the possibilities for those to be properly set and you can feel free to ask him any questions you may have regarding your build. I'm not an expert by any means.
  11. 1 point
    I think you may want to back the torches out a little bit. If I am seeing it right, it looks as though the flares are actually inside the forge, which will. over time, consume them. It may also help alleviate serious hot spots from forming on your steel to some degree. From the reference pictures in that design document, his torches Ts are pretty far back from the body of the forge. Otherwise, its looks pretty sweet to me. Nice build.
  12. 1 point
    Yeah, I've been there (and Sequoia/Kings Canyon). Those are some big trees!
  13. 1 point
    Blade from Ondrej. Cutting edge from old file, back from Wrought iron damascus. 130mm long, 29mm high und 6mm thick. Handle from Wenge wood, carved. With brass and carved moose antler. Carved leather sheath with brass fittings. 390 USD incl. shipping. [/IMG] [/IMG] [/IMG] [/IMG] [/IMG] [/IMG] Ruggero
  14. 1 point
    Well the final photos just got in from Caleb and I think he really did the piece justice. Here she is finally done and just in time for Halloween. And the other side of the handle: Thank you everyone for following along on this build and Happy Halloween!
  15. 1 point
    Thanks for the comment Alan, it actually sparked much of the design of this knife. I was at a local gem show looking for fossil ivory and came across a handful of these beautiful stones, once purchase I ran home to begin designing. Now today is nearly the last day in a mountain of work to get this knife done. In my eagerness to finish I did not document the process as well as I could have, but hopefully it will make sense. First thing I had to do was stitch the sheath together and trim the edges. Now with the structural sheath done I have to start on the frog or belt loop for the knife. I begin by making two copper rings from 3/32nd wire I fold about 28 inches of annealed wire on its self and twist it using a drill. Then I anneal it again, fold it and twist once more. This wire was then formed into the two rings. Then I made a series of straps and loops to finish the belt loop and with that the sheath is done! All that is left is to do the final cleaning and send it off to Caleb Royer for photos.
  16. 1 point
    Thanks guys I appreciate the comments, I'm glad you are enjoying the thread. Here is today's progress. Today was mostly about the sheath but I also wanted to finish darkening the background of the carving with the charcoal and oil mixture I talked about earlier. It wasn't getting the results I wanted (I believe because the ivory is so dense or the charcoal powder wasn't fine enough) so I opted for a leather dye and this worked very well. Then I had to practice stone setting. The plan is to place some blood red T-rex shin bone as the broach for the sheath. This is my first setting and I'll admit I messed this one up royally, thankfully I had multiple pieces of bone but here is the basic process: First measure your bezel wire and bend to shape around your stone. Then solder it to the back plate: You then have to form the bezel wire over the stone to hold it in place. At this stage it became a wrinkled mess and I ended up cracking the stone by pushing the silver to far. So I opted for another piece of bone and changed the back plate and bezel finish to match the character of the knife more. Then it was on to the leather work, now I am no Paul long, but my sheathes are slowly getting up to a higher standard. Leather work certainly does not come naturally to me and I have to think really hard about it so don't take my method for anything but my method. First after tracing the blade and establishing a border I cut out the top piece of leather. Then I lay out the grooves for the overlay and the border for the silver broach. Then I shade the borders to create depth. Next I cut the top over lay: Then I texture the area behind the broach. Next to lay out the lower overlay and more shading. Then cutting the lower overlay. And then finishing the shading. Next I lay out the lines for the quilt pattern. Then I place the buttons: Next I stain: Then I set the silver broach with copper rivets. And that is it for tonight, more to come tomorrow. -Robert
  17. 1 point
    Thanks for the comment Garry I'm glad you are enjoying the build. Today I finished up the carving. First we have the carving before it was scraped. I used charcoal and oil to darken the background. Then after a bit of scraping I added the touch of the dragon by very carefully heating the ivory to color the carving. I tested this method on several scraps before doing it on the actual knife and so long as you control your temperatures I have not noticed any ill effects to the ivory. And aside from a bit of cleaning and the odd touch up here and there the knife is pretty much complete. The sheath is going to be quite a piece of work in its self so the build is not over yet. I will be doing a stone setting on the sheath to make Dracula's broach and a few other odds and ends to add some character so stay tuned. Thanks for looking! -Robert
  18. 1 point
    Thanks guys! Working in Matt's shop was a great experience, I learned a ton! But there is so much more to learn! Now to the most recent update. First I had to begin cleaning up the casting with files, wire wheels, and carbide tools. I am trying to get a heavily aged effect with this piece so sharp precise lines are kind of the enemy. Unfortunately I got caught up in the process and did not document the refining process well, the above photo is the casting after running over it with a wire wheel.. But after getting the desired finish it was time to distress and patina the fittings. For shibuichi using cold gun blue followed by salt water with a heat gun gives the desired effect. First round with salt water on the butt cap: And after several more rounds: Now that it is heavily crusted the patina is robust enough to be gone over with steel wool and some oil, leaving the desired finish for this piece. Then it was on to gluing everything together in preparation for peening the tang. Once the tang was peened, for the first time we have a structural knife! Now on to the handle carving. This is a celtic knotwork of a dragon. Dracula meaning dragon and there was heavy anglo saxon influence in Transylvania at that time. And now to start the carving: And that's all for tonight, thanks for looking!
  19. 1 point
    This type of lost wax casting was 100% new for me. I have done sand casting in the past but other than that it was all new. Due to my ignorance I opted for going to a more experienced friend's shop, if you don't know Matt Berry you should as his viking work is awesome and his castings are superb! Matt very kindly welcomed me into his shop and walked me through the whole process. The first thing we had to do was sprue up the waxes I had made. The sprue will create the channel for the molten metal to flow through. Then we placed them in the flasks that would hold the investment. Then after the investment was poured it had to go through the kiln at about 1300 F to burn out the wax for about ten hours. Once this was done we began weighing out the metals we would need for the casting. For the guard we figured about 300 grams and for the butt plate around 230 grams (this includes the sprue). So for shibuichi, a Japanese alloy of copper and silver this meant using 135 grams of silver! (Right around $85 at today's spot price). At this time Matt lent me his awesome pair of steam punk goggles and we were ready to cast. Matt had some of his own projects to cast so I photographed him to show the process, but I handled the casting for my project. After about ten minutes we were able to quench the casting and reveal whether it was a success or a failure. My casting was extremely successful with very few bubbles and all of the holes and slots in place and intact. Matt's also came out great, but no surprise there! Next I cut the sprues off and we cleaned off the fire scale and remaining investment. And after a little clean up the guard is fitting where it needs to be. And the butt cap needs more work still but it is not far behind. Well that is all for today. Thanks for looking and any questions or comments are welcome. -Robert
  20. 1 point
    Thanks Scott! This is all flying by the seat of my pants as I have no clue what I am doing with carving or wax, but it will hopefully turn out alright. Here is another small update on the knife. I am still working on the wax to have everything ready for casting this week or early next week. All of the fittings will be cast from shibuichi (an alloy that is approximately 25% sillver and the remainder is copper). To start off the center of the guard is finally roughed to shape. Then the decorative elements are carved in and the fossil ivory handle is finally fit up. Then I trim the end of the handle to size and to shape for the butt cap. This being my first time working with wax, perhaps this was the wrong approach but it worked well for me. To fit the curve of the but cap to the curve in the ivory I cut the curve into the wax pretty closely then heated the wax with a torch on a low setting and pressed the but of the ivory into the wax. This seemed to work well as it fit the wax very precisely to the fossil ivory and it also showed me exactly where to put the slot for the tang. I then cut the tang slot and trimmed off most of the excess wax. I then trimmed the thickness of the wax down to a more uniform dimension: I then began the rough file work on the butt cap. I am leaving a lot of meat on either side of the cap for post casting clean up. With this being my first lost wax casting I'd rather do more clean up later on than risk not having enough metal in the right places once it is cast. I then began work on the peen block/ finial, it is inset into the butt plate approximately 1/16th of an inch. I wanted the finial to have aspects of the steel crown of Romania in its style, a very cool story if you wish to look it up. The photo doesn't show the detail well, and while crude, I believe the carving will lend its self to the overall feel of the knife. And that's all for today, next is clean up of the wax and then on to casting. Thanks for looking!
  21. 1 point
    Thanks Garry! Another small update on the wax carving, the guard should be complete by the end of today, and the butt cap and finial should be done by Friday, then on to casting. But here is where the guard stands after refining the one side and starting the other. Then carving mostly done on the other side: Lastly I seated the guard up further on the knife and now need to tweak and correct certain aspects on the center of the guard. Thanks for looking! -Robert
  22. 1 point
    Just a small update today. So when planning for this knife I knew I wanted to use shibuchi for the guard and but plate (in the same way I did on the Van Helsing Bowie), but with this one being more refined and complicated I decided to try my hand at lost wax. This is my first time carving wax and it really has been fun beginning to learn the process, definitely something I want to do more of in the future. First I made the rough cuts in the wax and roughly fit the tang. I also cut my wax too short on the back part of the guard, but as I learned that is very easy to fix. First things first is to add back on the piece I cut to short and to thin down the guard a bit. Then I began rounding the junction between the (quilion?) and the center of the guard. Then I carve the first channel: Then I add in the second step to complete the ring. Now I am just laying out some lines for future carving to take place tomorrow.
  23. 1 point
    OK. I like what I am seeing! I got to ask though, why the nickel line?? I assume that is the line in this pic!
  24. 1 point
    Thanks guys, I was able to finish the carving today and do the etch. Overall I am pretty pleased with the pattern and look on the blade. Here is the finished carving: And then the etch:
  25. 1 point
    Thanks guys! Joshua I wish it was only a day! But my hope is to have the blade etched tomorrow and ready for the guard which there will be quite a delay on I think. Here are a couple of last photos from today (my wife is away so I can work late into the night ) I wanted to add some metal carving to this blade so that is what I have done. This first side is now all finished to a base 400 grit.
  26. 1 point
    Dude! You're on fire, and in a good way. Pinned!
  27. 1 point
    And this post should bring everything up to date. First I forged the tang. My intention is to do this as a take down construction hence why the tang is so long. Now that I have something to hold on to I can cut the billet free from the handle and check the state of the welds. Looks good to me, now to cut the rough lines of the point. (This will allow me to bend the pattern back in line with the flow of the blade.) Now I begin the rough forging: And a quick etch on that corner piece to see some pattern. And finally a normalizing cycle post forging: Then I left the rough forging in a vinegar bath overnight to remove most of the scale. Then surface ground the tang and ricasso to .25" From the sharpie lines on the rough lay out you can see I will be doing my usual beveled ricasso and also another bevel on the spine. To me these are the scariest grinds because if you mess them up you pretty much have to scrap the knife and they can mess up quickly. With the bevel done on the ricasso I can now move on to the spine. Then cleaning things up via hand filing. Finally I roughed in the clip: Then on to the primary bevel: And a quick sneak peak at the pattern near the tip: And here is the blade, as of today, successfully heat treated, and ready for the final polishing and metal carving to be done to the blade.
  28. 1 point
    Now for the other bars I wanted to have them be a more basic pattern so I about twenty layers and three billets of JR evenly placed throughout. This was then welded together, drawn out and cut for re stacking: Then to add some additional interest, I added .30" W2 in between the layers, this was then drawn out to almost 50 inches of 1/2 inch square bar: I gave these bars a Turkish twist configuration so every other bar twists the opposite direction from the previous one. After being re-squared and ground clean on their mating surfaces we can now see how they will be ordered in the billet. Between the edge and back bars I placed a single piece of 15n20. I trimmed a bit off the ends of the Turkish twist bars to make everything even and tack welded it all together. Then it was all forge welded: The next installment of the thread will cover the blade forging. Thanks for looking!
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