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Showing content with the highest reputation on 02/11/2019 in all areas

  1. 1 point
    #1 A week or two back I posted this pic of a few blades I had cut out and started work on I was able to get most of them done this week and as I had not done a dagger before I was rather pleased with how the 6 1/2 inch 1095 it came out. I have no use for this type of knife but it was a challenge to my grinding abiity to have a try at the double edge so that was the motivation for this one. I intended to do it very loosely styled on the Fairburn-Sykes knife with a through tang peened to a mild steel washer on the pommel of the handle After the tang was peened and the shaping was done I was reasonably pleased with the first try at this type of knife. The guard was piece of 1/2 x 1/2 brass that I ground the blade side curve on the 12 inch wheel before I started to do the tang slot and shaped the rest of the guard when it was all together at shaping time when the tip of the guard were tapered down to about a 1/4 in square before it was a rounded off. The walnut handle was polished with the same buff after the brass was done and this gave it a very nice dark finish. The Sgian Dubh is a single edged 4 1/4 inch dagger shaped blade of 1084 with a brass bolster, a black liner and a Jarrah handle on the stick tang There was also a J T Ranger completed with a OD canvas micarta handle on the 5 1/2 inch 1095 blade.
  2. 1 point
    Gorgeous :O the handle is soooo pretty.
  3. 1 point
    Thanks Gerhard! Thanks so much Pieter! Yes I certainly agree, they are both stuck in time as it were but I believe the way the Japanese pieces are finished may not have been far off from some of the higher end Medieval pieces! I have done my faux Japanese style polish on some of my Viking Age pattern welded pieces and they look fantastic with that treatment. The tachi was definitely stressful, but it worked well and nothing was damaged! It was a good sign to continue work in this tradition! As for water quenching, I water quench anything made from oroshigane, it just is the only way! Some of the pieces I have made get quite hard, and may possibly harden well in oil, but some of the hataraki (activities) in the hamon just don't look the same if hardened in water, so it is the only way! I am not scared of it, and have not had any cracked blades yet! Thank you for the kind words, they mean quite a lot and I am happy to be able to provide some inspiration! It is all practice after all! The last five years have taught me that only you stand in the way of your own progress! Jesus especially is a big reason why I am down this rabbit hole! Mark Green introduced me to the process of hearth melting almost five years ago now and while I didn't do it right away I knew that some day my path would lead me here! I'm 24 now! I feel like an old man, or at least my body does sometimes! And thank you, I really appreciate that! While I'm certainly not a master yet, it is humbling to progress at the rate I have because it shows me just how much further there is to go! The antique work is fun now! Not as stressful as the first time It is nice to care for something old and give it some new duds, be it habaki or the whole nine yards. As for the quenching is it low manganese 1075? I have had some very odd pieces recently that have reacted in all sorts of weird ways to oil and water quenches. I would try again and undershoot the temp while making sure the spine isn't as hot if possible! the 1075 blade up above is the one I was referring to last time btw Thank you Brian! I was just telling someone the other day about the indecent with the moonshine and the taser spear! That was a fantastic Ashokan, I can't wait for the next sword year, maybe I'll have to make something special for it That was a great one, I met Owen and Jake and Peter for the first time there! That was a whirlwind for sure, but I got great feedback and managed to meet a lot of the people I have wanted to for a long time, yourself included! Thanks Alan, I appreciate it! Thanks James! That one is special to me, gonna get mounted up some day when I am good enough for it! Thanks brother Thank you! I appreciate it! Thank you Doug! I was kind of nervous choosing the name at first, but as I keep working in this style it feels more and more like it fits! Thank you Lars! Thats exactly the term! Thanks Charles! The folding has been the most interesting part for me, I alternate the folding direction every three folds until the very end which is were some of the experimentation happens. Depends on the number of folds! I've done up to 18 folds so far and ended up with this fantastic super fine grain, and also done 11 folds and ended up with a very lazy wide woodgrain pattern, so it's nice to know I can more or less shoot for whatever complexity of pattern I want to achieve! Here's one of the pieces from this evenings polishing session: IMG_9181.MOV
  4. 1 point
    Thanks! Thanks Charles Thanks Owen! I'm glad it all came together like it did! Nice cohesive package! Thanks Pieter That was an inspired bit of lunacy at the end there, but as these things usually go, the last day was when all the craziness came to a head and then it was over! Thanks Joshua! Yes I did! I like to have the leather supported by the blade, and I'm not tooling too deep so I can't scratch the blade. I leave it to dry with the blade outside of the sheath for about two days after the tooling is done to make sure all the moisture is gone! Thanks John! Yeah you remember that place we went right before picking up Luke from the airport? I moved into that shop with my buddy Kamil! You are always welcome brother, the sooner the better This one had a loose plan! The handle is the only thing I really sketched up at the beginning for the client to give the go ahead, everything after was kind of a free form odyssey! I hit some serious creative blocks on the scabbard till I did some more looking historical pieces and was able to chart a course I liked! So I managed to get some pro shots of this piece done before it was time to ship it off! Here they are. Shot by a guy named Charley in New Hampshire! I really love the way he shoots knives and swords and he has taken some photos for Zack Jonas, Peter Johnsson, Dakota Slack and a few others that have a very noticeable style.
  5. 1 point
    Wootz by Zaqro Nonikashvili 2018. Soon his technology will be presented.
  6. 1 point
    I know what I could have done better, but have at it. Thoughts?
  7. 1 point
    Thanks, I'm still at the "Beginners" stage :-)
  8. 1 point
    Didn't think of that not having used the product. It does distract from what is otherwise not a bad looking knife. Doug
  9. 1 point
    Doug, I think that's a run in the cerakote. Nice job on the grind! The only thing that bothers me is the squareness of the stubby integral guard. It breaks the flow and looks uncomfortable. Just an opinion, but you asked!
  10. 1 point
    Not bad. It looks like you got the fuller straight in the center of the blade and lined up with the tip. It looks like there is a ridge that starts next to the fuller and extends to near the point that is off center. What went on there? I think that a hidden tang with a separate guard would have looked better than the full tang with scales and an integral guard. Overall it's a pretty good effort and the only way you will get better is to make more daggers. Doug
  11. 1 point
    I just got in a couple of the fire glass panels that are about an inch shorter than my present 3/8 mild steel platen so I will take it to the engineer and get it put into the mill and a section milled out of it to allow the glass to sit into it with the shelf left at the bottom and within a thou or two of the original level so when it all goes back together there will be no disruption to my settings. have the platen just proud of the wheels.
  12. 1 point
    Well, I'm Jeroen Zuiderwijk, 43 years of age and I live in the Netherlands (that small country in Europe between the UK and Germany). In daily life I'm an engineer in the aerospace industry, or rocket scientist. My interest is focussed mainly on prehistoric and early medieval metalwork. This interest started with a visit to the former National Army Museum, in Delft, Netherlands when I just started studying. I already had an interest in old weapons, fighter aircraft mostly. When I got to the ancient weapon section, this turned my whole view of the history of mankind upside down. I was standing in front of around 3000 year old bronze swords. I had never thought there was anything technological worth mentioning before the Romans. Yet there were these very finely crafted sword, also in a different metal. At first this remained just a lingering interest. But as years went by, that interest started to grow. And the more I learned about this generally unknown period by most people, the more it drew me in. The metalwork from the bronze age is absolutely magnificent. Not just the swords, but so many artifacts made back then. But at the same time the way they lived was still so very close to nature, with houses made of the materials found locally: wooden structures, wicker and mud walls, thatched roofs etc., growing their own crops, cattle etc. 17 years ago I visited a living history center called Archeon, where they have reconstructions of houses from the mesolithic up to the late medieval period. After a year of almost living there as visitor, I found out that I could actually join there as volunteer and get involved in living history of the various periods. At some point I saw demonstrations of bronze age bronze casting, by Erik Schouten. Then it became clear: I MUST do that! I started to put together my own equipment, making bellows, crucibles moulds etc. I was warned by the previous caster, that it would take at least 1 or 2 years before I could expect to get any decent result. That really helped a lot, as he was spot on. Doing it in the way it was done 3000 years ago is really really hard! There were so many factors that would either lead to bronze not melting, crucible failure, mould failure, bronze spilling (getting a 1100C crucible with metal out of a fire that burns your hands as you try to get close and pouring it into a small opening with no metal tongs is a bit of a challenge). But the real challenge was the moulds. Making heat resistent moulds that would not give all kinds of bad reactions, made from locally dug clay was, and still is a big challenge. And the castings had to be of sublime quality, because grinding away metal on natural stones take ages. This is me back in the day casting bronze the bronze age way in Archeon : Examples of some bronze age (socketed) axeheads that I made back then: And one hafted: The nice thing is, tools like these axes were used on a frequent basis. So they were tested thoroughly as well. As time went by, my interest diverged into the iron age and early medieval metalwork as well. So I started forging besides bronze casting. Also in the same level historical setting, charcoal forge, bag bellows, small iron anvil etc (here in the iron age): Forging was a lot easier to get started with. When beating a bit of iron, it may not at first end up in exactly the shape you intended, but it can be a usable knife f.e, whereas with bronze casting so many attemps resulted in absolutely nothing useable. So that allowed me to do some bladesmithing on the side. I moved back and forwards between bronze and iron, depending on my interest at the time. As time went by, I moved away from exactly reproducing the entire process accurately, and started focussing on the result rather then the entire proces, allowing modern tools to be used (or as I call it, cheating! ). I simply had spend enough hours grinding metal on a piece of stone, and wanted to spend more time playing with fire and hot metal. And some years ago stopped doing living history alltogether except for some rare occasion, and now have my work place at home, literally on my doorstep in the middle of the city. Involving more modern means takes a lot of the difficulties away, which allows me to do make more challenging reproductions. My available time to do metalwork has dropped to practically zero at the moment, mostly spend being a father of a 1 year old right now. So what time I do have, I want to spend it as efficiently in making cool stuff as possible. Hopefully as my daughter gets older I may get some more free time here and there again.
  13. 1 point
    Gerhard, Heat Treaters Guide (my "HTG" from post before yours)... that is, "the book" from the American Society of Metallurgists... says under 5160,5160H, 5160RH, under normalize: "Heat to 870 C (1600 F). Cool in air". Here, they do mean still air. You have a kiln, and when the kiln stabilizes (less and less on time for the amount of off time, to a point where the on and off times don't change... not to say equal amounts of time, mind you), a piece of steel of the sections you are dealing with placed in the oven for 10 minutes or so will likely be through-heated to kiln temperature. Taking a narrow peak into the kiln and looking for a piece of steel that is the same color as the kiln walls will give a pretty good verification of steel and kiln temperature being equal. I have to say... a thick piece of steel can show exterior color same as kiln and NOT be at that temp. internally. Sometimes (sometimes) a thicker piece will show light shadows (slightly darker) areas even if predominantly kiln temp. color. I've always read that as "piece not temperature equalized"... but that's me guessing at things. I don't know what you know... For steels of this general type, grain growth temps. are 1650 F to 1750F... closer to the lower is my guess for this steel. For knife like structures, finer grain (within reason, please) is better. Part of the aspect of normalizing is causing all grains to be the same size. Bigger grains are not wanted here (or maybe any where, but ???). A temp. close to grain growth temp. for the steel will cause the grain size to equalize quicker. (An awful lot of steel stuff is time and temp. dependent... less time, less temp. less happens, and then the opposite... with constraints on both ends). So for 5160, through-heating to 1600 F and cooling in air will make grain size equal. If the blade has been forged, and/or had other high temp and/or time excursions applied to it, a single normalizing process with leave a person with equal but LARGE gains. Many forging knife makers (and others who are not heat treating professionals) normalize 2 (usually, at least) or 3 times (that's what I learned from the more knowledgeable). Each following normalizing cycle causes the grains to get smaller. I was also taught to step down the normalizing temps... all being above the temp. a person wants (needs) for quench. "The book" for 5160 says 1600 F to normalize and also says 1525 F to quench. That's a small range. Me, I'd use 1650 F, 1600 F, 1550 F for the normalize. I have used 25 F steps in normalizing a number of times and feel (feel) I'm right and proper with the world, so it could be 1600 F, 1575 F, 1550 F. I'm sure there is a difference in those two, but I don't know what... or if it would make a use-find-able difference. Is that enough? Mike
  14. 1 point
    This is what I was trying to say back when you were gonna buy your cheap belt sander. Good tools are only as good as the operator. It might seem like you're wasting time by taking it slow without the best equipment, but you're actually learning more than you think. Get a good foundation before you go trying to learn everything at once. Maybe even try forging things other than knives. Patience will take you further than any tool ever could.
  15. 1 point
    The starting bar and the template I made from the photos and sketch. After forging the bar and cutting it in half, I forged the pointy ends. Then I shaped the handle and started the finger slot. Now to forge in the bevels and widen the blade. These will be hollow ground, so I cannot get too wild with the bevels. Finally, the two forged knives.
  16. 1 point
    So after the initial tooling was finished it was time to look at the half moon and grip sections of the sheath tooling! I did some thinking and contacted my buddy Luke Shearer for some advice on how to go about creating the correct theme for the carvings. I like the carving and motifs to be full of meaning, and so the final idea was to use the half moon shape to act both as the moon itself and bear the name of this seax. The carving on that portion of the sheath reads "I am Silverlight" in Old Norse. From there I wanted the sheath to evoke reflection and the power that lies in the moons ability to reflect and seemingly create this beautiful silver light that has always mesmerized humans. I chose to mirror the top section of the main sheath and write runes backwards in Old Norse, as if they were written and could only be seen in a reflection. Obvious nods to Jake Powning and J.R.R Tolkien as well as the old craftspeople that came long before us! The runes tell who made the seax, the name, and for whom it was made! I really like this shot as it shows the carving in progress, I wanted to find and define the depth quickly on this part of the carving. And here's the tooling finished! And the morning after! I cut a small section off a sponge, got some gloves on and went to town with some black water based leather dye! IMG_8366.m4v Now its time to take those fancy little U shaped pieces of silver and get them to be a shape I like. After a little bit of gentle persuasion with a piece of leather and a soft plastic mallet I was ready to begin drilling. I borrowed a small jewelry bench top drill press from a friend and cleaned it up nicely so I wouldn't get any unsavory oils or dirt onto the sheath while I worked. I drilled a few holes and the wiped off the chips and bits of leather. It's pretty stressful worrying about whether you'll damage the carving by accident at this point in the game. I fit the top piece and scribed and drilled the holes, using brass escutcheon pins as my place holder rivets to keep everything perfectly aligned during my work. This was all done before the belt grinder at the new shop was hooked up, so I used the jewelers saw to cut the silver slightly oversized and filed the rest. Once all the filing and polishing was done I carefully marked where my lines and holes would be and used a carbide tipped scribe to cut my decorative lines in. I began to make paper templates for the ring holders also. I did the chape the same way, carefully annealed then bent around the tip of the scabbard with some gentle taps. So then calamity hit! I had scoured the entire (virtual) globe for sterling silver rivets but when I finally found them and they came in they were slightly undersized. Just enough to make them buckle with the softest hammering. I went to visit my good friend and fellow forumite Matt Berry and he advised me that the easiest and best way forward would actually be to cast the rivets and then clean them up. We had a less than perfect turn out, which isn't surprising when each of them has a stem thats just over a millimeter in diameter. We had 84 successful rivets I believe which was great because I needed 79! A margin of five is plenty of room for error right? I did a loooot of careful filing and buffing to clean up each individual rivet head. Matt made a beautiful little riveting tool for supporting the front of the rivet while I finish the back. In action! Matt is always prepared, and when I contacted him about making the suspension rings I was thinking about for this seax, it turned out he had already carved the waxes and made the molds a few months ago, so it was an easy task! While we had the rivets in the investment getting ready for the casting I spent a day cleaning and polishing the rings as well as making the suspension plates. With some careful cutting I made a recess for the ring to sit beneath the front plate of the sheath. I have struggled with this detail in the past, but this seems like the most efficient and clean way to make the lines of the piece flow smoothly. Just before the top plate goes on! You can see the silver strap is flush with the surface of the leather. I also had to bend the suspension plates into a roll in order to fit the ring through, and in the flattening they relaxed a bit and took some denting, so I used a piece of wood and a file to come back to flat and then polish up again. Here I'm working to remove everything that isn't flat silver. It was a fairly stressful two days trying to finish everything while not compromising quality, but I think it was pretty successful! Seeing the pieces coming together like I had planned was the icing on the cake, and just before it started getting dark I was able to wax the leather, polish the silver, and call it a day, but not before some quick photos! Hope you guys enjoy! I'll be updating the thread with better photos when I have a moment to take them. Hope everyone has a great finish to 2018 and an even better 2019!
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