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  1. 16 points
    Hello! I apologize profusely for the novel that is about to come, I promise I won't be offended if you skip to the pictures I recently graduated from Hampshire College in Massachusetts. Instead of Freshman, Sophomore, etc, students are divided into Division I, II, and III. The first year you take a broad set of unrelated classes, and throughout your middle two years you hone in on something interesting you want to study. Your last year, Division III, is spent working on a thesis project that should be the culmination of the last three years of work and study, producing something wholly new, wether it is a long paper, an experiment, a novel, a play, etc. I have spent the last few years at Hampshire exploring bladesmithing, history, mythology, material culture, and how it all intersects now-a-days. When I arrived there I had never put hammer to anvil, but with some guidance from Elias Sideris and Don Dupuis, I began down the Way. Eli’s work was influenced by the Norse aesthetic, drawing from historical sources as well as wellsprings of artistic inspiration both new and old. I began researching, reading, and looking, and through other artists, like Jake Powning and Petr Florianek, I began to fall in love with that style of work. The seax and the sword captivated me and I began working to unravel their secrets and learn the proportions and geometries that make them be. I began to study Old Norse and the Icelandic Sagas and eventually became enchanted with the poem Beowulf. I first read it in high school and while I enjoyed it, I didn’t know anything about the poem below the surface. I began studying with Professor Craig Davis at Smith College who is a wonderful Beowulf scholar and knows the poem and its intricacies forward and backwards. He agreed to take me on in an independent study examining the use of weaponry in the poem. I began by isolating the four swords featured in the poem, and was later happy to see two of them brought to life by our own forumites and the crew of Arctic Fire 2016 when Dave Stephens created Hrunting, the ancestral and possibly fratricidal blade belonging to Unferth and lent to Beowulf for his fight against the mother. Then there is the Giant’s sword, brought to life by the fateful team of Jake Powning and Owen Bush, forged larger than life and more intricately than could have been imagined previously as a sword only a hero could have wielded. The Third sword is that of Wiglaf, which Dave DelaGardelle is conjuring into existence in his smithy with some steel that I forged for him. (this has been a call out Dave :)) Last but not least is the sword Nægling, an ancestral blade handed down to Beowulf by King Hygelac his forbearer. This is a kingly blade brought up earlier in the poem but used only in the final struggle against the serpent. This blade is an extension of the aged king, and carries the weight of his agency as king and protector. The blade breaks. Made by the hands of men, this heirloom is snapped when it impacts the serpents skull, too hard for normal steel. This is a beautiful moment in the poem for me. Beowulf is painted as the good guy. He has defeated monsters who wanted to destroy and cause harm to his allies. He selflessly defended the people in harms way and proved himself to be a very boastful but trustworthy and powerful man, capable of great deeds. This righteousness ends here. For all of his good intent and earthly power, the serpent IS death. Wyrd comes for all men, and soon the king too must rest. Having delved deeper into this poem I decided a year and a half ago that I would create this kingly sword as it was before it met fate. I had learned the art of hearth melting from Ilya Alekseyev, Mark Green, Zeb, Deming, and Matt Venier among others. I chose to create steel by the light of the full moon every month for a year, and that was the steel I would use to craft this blade. I created low and high carbon material from wrought iron nails, old projects, failed experiments, artifacts, pieces given to my by friends, iron and steel made by great smiths, like Ric Furrer and Jeff Pringle. I ran a melt at Ashokan, and with the help of some of my closest friends, and some wonderful new ones, I made a special piece of material that forged from a 6 pound lump into a 4 foot long bar with only a single crack in it. I helped run a summer class and taught 10 high schoolers how to run a hearth (or three) and make steel. I made material with friends and teachers and the process became as important as the result. At the end of these 12 months though I had come to the end of the easy part, and now I had to actually make the blade. The most important question was what would the blade look like? clearly it needed to be beautiful, as a kings sword would have been. It needed to symbolize the story, like the hilt of the Giant’s sword tells the story of the flood and the demise of the giants, this sword would tell the story of Beowulf and his demise. Enter in the sword from Vehmaa. Featured in the end of Pierces book, Swords of the Viking Age, almost as an afterthought, this blade captivated me since I first bought the book months after starting down this path. This incredible blade features different patterns on each side of the blade as well as an overlaid serpent in the top third of one side. The blade is broken in the top third, separating the serpent. This immediately jumped out to me as being a sword Beowulf could have carried, and the broken serpent was almost too perfect a parallel. Only one smith has been foolhardy brave enough to attempt this blade, and it's none other than my great friend Jesus Hernandez. His incredible creation, and still my favorite sword on this planet can be seen here: With his incredible example out in front I had to try and give it my best! I forged the blade, running into minor issues here and there. The blade itself I consider to be a failure, and is a practice piece for next time. the largest thing I had forged from my own steel was a small seax for Matthew Berry who graciously agreed to do a rush job on making a hilt for this crazy project of mine. I had made much of the steel I used for the sword at Matt’s house over the last year and it was fitting to combine our skills to make a sword worthy of the legendary king. So without further ado, I give you Beowulf’s sword! Just kidding WIP first! This is a small bit of the material I had made and started to refine for this undertaking. The iron and steel pieces were refined differently with an eye for what would go where in the blade. I had close to 60 pounds of material refined for the blade when I was done prep, just to be on the safe side! The billets finished and ready for welding, The leftmost is the edge wrap and the other two are the two sorts of patterned bars found in the sword. I forge welded the serpent bar overtop of the twists on one side of the blade before welding the two sides together. I apologize I don't have many photos of this all as it was a frantic and busy couple of days. The two core pieces next to each other. The original sword had an iron core, but I chose to forgo the added complication. Here the edge is wrapped and welded. It was much harder with home made material than it ever has been for me in modern steel. I'm not sure wether that was due to different expectations in workability or what. The tip weld was nearly the breaking point when I thought I had failed. Some of the pattern peeking through in the scale as I forged the fuller. The original had an iron inlay which was hard to make out. Mikko Moilanen was incredibly generous with his research and has some information on this piece in his dissertation. Skip forward a few crazy minutes and you get to the final moment. The blade was quenched in water and survived! The moon steel sword had hardened nicely. During grinding the blades edges sparked similarly to 1095 or w2 which was a huge surprise as I had never made home made steel that nice before. All of you here know the arduous process that is hand polishing. I wish I had ground it perfectly to 400 grit and polished 320 400 and then 600 and called it a day, but I don't use jigs or fixtures or whatever so I relied on free handing the rest of the geometries. This is scary and also not fun. I ground the blade near sharp at 36 grit and left it there, and polished by hand the rest of the way. This was awful, but worth it, because when I was done and left the blade in the ferric I saw something that made the years work worth it. I had finished the blade but any good blade needs a handle! I contacted my friend Matt and asked if he would be willing to make the fittings for the blade. He agreed and I sent him a photo that was included in a huge set of files from the National Museum of Sweden that he had previously sent me. The museum took wonderful photos of the sword from Vallstenarum. This was the hilt I wanted for my sword and so Matt created beautiful waxes based exactly on the original. The hilt is from a burial in Gotland and features a fabricated and rather botched ring assembly that was certainly not original to the sword. Matt began carving and in an unimaginably small amount of time was able to craft all of the parts needed for the sword and cast them. I went over to his house and we began fitting, drilling, filing, polishing, and assembling all of the parts. We did a huge amount of work and then I took most of the grip home to create the wooden components while Matt finished the pommel assembly. I carved the wooden grip and when I came back a few days later, we spent an afternoon finishing the sword. I had crafted a makeshift sheath which turned out to be hugely helpful in letting us hold the sword for finishing I brought the sword home and began finishing the sheath and the small details so that it would be ready for my gallery show. I forgot to mention I also put together a gallery show for my thesis! That was a lot of work. I had a small space that I filled with several swords and photos on the walls, and cases full of work and some artifacts. I'm sure you guys will recognize some of the pieces! I had to do a loooooot of borrowing to have enough to show I had a case full of some kitchen knives and miscellaneous pieces as well as a belt made with Matt's castings and some artifacts and the pieces they inspired. The center piece! A bit of a story board. A hammer made by Ilya, the one I use for everything along with some parts of the process. Admiring the work! The turn out for the show was far greater than I had anticipated, and it was a huge amount of fun to see so many familiar faces all in the same place. Thank you to everyone here who has inspired me to undertake this journeying to the people who made it possible, both with help researching and experimenting and with distractions or encouragement. Now my hands are starting to itch again, time to get busy!
  2. 15 points
    Hello! this is The Moon's Daughter, a type XVIII b sword that we started in the May Sword Reflections class of Tannery Pond with Zack Jonas and Peter Jonnhson. finally we finished it. is a pattern welded sword. (1095/1070) the thickness at the cross is 6 mm and the width is 47 mm. The length of the blade is 94 cm and it is 118 in total length. is built following the guidelines dictated by Peter J for the class, many thanks to PJ, ZJ and the classmates for such beautiful days
  3. 12 points
    Here's my latest... a custom order that when I drew options for the client, I labelled "insane" as it was an exercise more than anything in taking lines to an extreme. I was a little taken aback when he chose the drawing to proceed with. It has a 15" blade, is 20-3/4" in overall length, and the blade is 2.25" max width at the harpoon apex. It features a 9 bar pattern-weld blade, in turkish/serpents composite with explosion pattern bars for the clip and dropped edge. Completing the package are a 954 aluminum bronze guard, sculpted grenadilla handle, and 954 bronze nut for the through tang-construction. It is 1 lb. 12.3 oz. in total weight, and balanced to CHOP. Pics and a vid! Thanks for checking it out!
  4. 11 points
    As the title suggests, here is a variation on a theme. People like what they like, and it seems I have a few knives that people really like. That's fine, I enjoy making them, and I still exercise a little bit of creativity in each one. Although I totally forgot to put my makers mark on this knife, which pisses me off, but you know, it could be worse. It's really not hard to tell it is something I made... Anyhow, it is made from Aldo's 1075, which I really dig. Beaten copper, and a gorgeous piece of Desert Ironwood to finish it off. I wish pictures could do the wood justice. It glows in the light. Good stuff. Blade is 4.25" (10.8 cm) with a total length of 9.25" (22.9 cm). Hope you like.
  5. 11 points
    This was a very pleasant commission to work on for me. I could practice a little more of inlaying and the results got better than i could anticipate, even if I have much to evolve in this art. The blade was mostly done by stock removal, but the tip and the tang were forged prior to the grinding. It was made using 1070 steel. The hilt is of a variation of Petersen's type L and it's components are made in mild steel and the inlays are nickel silver. The twisted wires are also nickel silver. It was then oil coated and lightly heated to make it look darker, so the contrast with the cooper-alloy would be even more visible. It is also a good way to prevent rust. My signature this time went on the inside of the lower guard, as the blade carries my maker's name. And on the pommel is asymmetrical in decoration: one side carries a similar decoration to the guards and the other a "double Týr" bind rune. The idea of peening it on the pommel cap is also a historical method, but I made it mainly because it would be more secure than peening the upper guard and attaching the pommel cap to it. The handle is pine wood wrapped in cord and then covered with pig skin. The scabbard is also pinewood, as well as it's belt-bridge. It is lined inside with natural wool and covered with linen cloth. The chape is also mild steel and the bridge is held by leather strips. All the decorations were made to fit a late ninth century fashion, although it is a simplification of the Borre style rather than a more elaborate version. The runes on the blade are inspired mainly on inscriptions of later, 10th and 11th century blades commonly made in Latin language such as Ingelri or Gecelin, but also inspired on the famous Tizona of El Cid and the Cortana from the legend of Holger Danske when it comes in the naming process of it. The use of the runes or local language was a choice of the owner, although I'm aware of only a single sword with runic inscriptions from the period (according to Petersen, B1622), but I have no access to what is written on this exemplar. They read: ik er ulfsmoþRin (Ek er UlfsmóðrRinn - I am the Wrath of the Wolf) hioruarþR kirosi mik (Hjörvarðr gerosi mek - Hjörvarðr made me) They are all written in old norse and I used the danish long-twig young futhork to write them. The sword was exposed at one of the biggest blade shows here in Brazil, where it was awarded the prize of Best Sword of the show and is indeed a proud weapon to display, as well as is swift and powerful to wield. As usual, I wrote a short tale for this blade that can be read here: http://vferreiraarruda.blogspot.com.br/2017/08/ulfsmor-wrath-of-wolf.html I hope you like it. And here are the stats of it. Overall length: 94,0cm Blade length: 79,7cm Blade width: 5,4cm Blade thickness at the guard: 0,5cm PoB: 17,2cm Length of the grip: 10,3cm Weight: 1,150kg
  6. 11 points
    Sorry man. Locking this thread. This ain't a politics forum. It's a forum for makers who meet on the accorded neutral ground of creativity and craftsmanship. We leave our politics and flame wars at the door on the way in. Our founder, Don Fogg, set this tone from the beginning and we maintain that position. Cheers, Dave
  7. 10 points
    Hi all ! It's my first post on this forum so I wanted to say hello and show you my pattern welded seax which I finished few days ago. Total length 47cm, blade 32cm Width 3,2 cm Maciej Leszczyński - Kuźnia Wilkowo
  8. 8 points
    In another topic I document the progress of a rapier blade, here I will post pics and progress of a hilt that I wanted to make for a long time but did not dare because of the incredible time and effort needed for such a piece. I am no artist and not very artistically talented, so the result will not look like if Cellini or Negroli had made it . However, you have to start at some point... This is the original that it is based on: I will modify it because this is basically a sidesword hilt that doesn't give enough protection in the right spots for rapier fencing. The mods will become clear as I go along. Here is the humble beginning, just bent bars of carbon steel (the originals usually are made of softer steels, because it is easier to work with and they didn't have tools as good as we do). Furthermore I will heat treat the hilt so it is more resilient to damage when sparring. This awful lot of work should last at least some time. Next is lots of filing. I am using small machinists files, precision files and needle files (all from a very very good german company, St.Egydyer files). It looks quite rough in the beginning, and gets finer and more detailed later on. This project also made the decision to finally buy a pneumatic engraving system. We went for the Enset machine, because it can go at slow speeds and can chisel with power. So this another area that needs practising! This is going to be a longterm project, so please have some patience... If you have any hints or techniques to speed things up, please let me know!!
  9. 8 points
    Hello, I would like to show you a few of blades that I welded in a last couple of months. Everything is welded from S235 low carbon steel and 50HF spring steel. Only axe is made of C45 steel and 50HF welded into the cutting edge. First I want to present viking sword blade, the core is made of 2 bars with separate sections of twist pattern and solid blades. It is 75 cm long, 5,2 cm wide and the thickness starts from the 7mm near tang and ends at 4mm at a tip. Next one is the long knife with wolf teeth blade, 42 cm long and 3cm wide. It is welded from 2 twisted bars, wolf teeth blade and solid thin plate on top. 2 little knife blades, with the simillar structure to the long knife. The small one's blade is around 7 cm long. And the last one, welded axe from the folded piece made of C45 and piece of 50HF inserted into the cutting edge. The handle is made of ash wood. Axe head is 14,7 cm long, cutting edge is 8,8cm long, and the handle is 56 cm long. The weight of the whole axe is 680 g. Regards and thanks for watching, Rafał Garbacik.
  10. 8 points
    My latest. The client is from Kentucky, hence the name. I thought it sounded mean too It is a harpoon point fighter that he commissioned. Some knives are a struggle and fight you ever step of the way. This one didn't. I mean, there were moments that it pissed me off, but it was never a struggle. The steel is differentially heat treated W2, so there is a hamon. Too bad the pictures are garbage for showing it. It was etched very lightly, so the hamon is frosty. Guard is of course, rust blued mild steel, which I never use Seppa is bronze, and so is the pin. The spacer is polished bone, and the handle is stabilized maple burl. Anyhow, here are some stats. Let me know what you think. Blade Length: 8.75" (22.2 cm) OAL: 14"
  11. 8 points
    As the title implied, these knives were born at the same time and came from the same design. I must confess, they are stock removal, but please be nice to me; I promise the next ones are forged. Stock removal knives are faster though (or fast for me which isn't really fast), and I had two commissions that needed to be made. So here they are. Steel: 1075, differentially hardened and etched. The pale knife's hamon is much easier to see in person. It's just a mild etch. Wood: Twin 1 is Cocobolo and Twin 2 is Stabilized Buckeye Burl. The lanyard beads for each are made from the same wood as the handle. OAL: 9.25" (23.5 cm) Blade Length: 4.5" (11.4 cm) Hope you like.
  12. 8 points
    As of yesterday - I hope you don't mind the big picture.
  13. 7 points
    Haven't posted on here in several years, but I thought this might be a fun blade to jump back on here with. This tanto was made from an Enfield Mark III barrel with a mild steel core forge welded into it. The idea was to mimic the kobuse forge welding scheme used in many Japanese swords. It was kind of an interesting process getting the hot core down the barrel during welding. If I did it over again, I might have done a few things differently in the forge welding process, but it seemed to work out okay. I did a video on my Youtube channel. I can add the link if anybody's interested in seeing it.
  14. 7 points
    Some of you newer guys may wonder why you don't see me posting much of my own work, and I don't think I have done so since back in April, if then. Many factors are involved, but a diagnosis of psoriatic arthritis a little over a year ago slowed me down quite a bit for a while there. But I'm back! Some of you saw these sneak peeks at my latest hawk down in the "what did you do in your shop today" thread in The Way: and I promised I'd put finished pics in Show and Tell when it was finished. And it's almost finished! Just need to rub out the oil finish a bit more, then top it with wax and it's done: I don't have the dimensional specs on it handy, I'll add those in a bit, but it's a big and heavy hawk. The head is forged, filed, and turned from antique wrought iron anchor chain with a 1084 steel edge inset. I then inlaid it with silver and engraved it, then I browned it to make the silver really pop. The idea of the nameplate on top of the head came from the gunmakers of upper East Tennessee 200 years ago who would inlay a silver plate into the top flat of the barrel as a nameplate for both their signature (almost always in Roman capitals rather than script) and sometimes the customers as well. That's also what made me decide to brown it, that connection with the rifle guys who lived here long ago. If you know anything about the iron-mounted TN rifles you've heard of the Bean family of gunsmiths. I live about ten miles from the sites of two of their shops. The handle is curly maple from Dunlap Woodcrafts, modified by me of course. All mounts are sterling silver, no pewter on this one. Wire inlay at the mouthpiece end just for fun. The relative restraint on it is also an homage to the TN gunsmiths. Their work was very plain. Little to no engraving, no shiny brass mounts, only browned iron, dark wood, and the occasional silver or bone inlay. Thus, the only engraving on this hawk is on the head. I'm not thrilled with those slag stringers that mar the design, but that's the price of working with wrought. It didn't show up until the final drawfiling, needless to say, and unfortunately the browning solution didn't stick where it appears. Makes it look old, though. Anyway, there you have the Tennessee Mountain Hawk. Soon to be for sale, just in time for the holidays! And just for giggles, I also whipped up a little chef's knife. 7" blade, around 11" overall. W-1 with hamon, African Blackwood scales with brass pins. Those aren't scratches at the end of thehandle in that last pic, dunno what caused the effect. But it doesn't matter. I'm back in the game! WooHoo! Edit: Got the specs on the hawk! 19 1/4" / 48.25 cm handle, head length 8.9"/22.6 cm, edge length 3.25" / 8.2 cm. The overall weight is 1lb 12.5 ounces, or 800 grams. About what a good single-hand sword should weigh, but all the mass is in the head. And it's thicker than my usual, since it's wrought forged down from BIG anchor chain and i was just eyeballing the width and thickness of the initial bar. It was supposed to be 11 inches of 1/4" x 1.25 " flat bar, or 28 cm of 6.5mm x 32mm flat. It ended up I got the width and length right, but the thickness was around 5/16" / 8mm. Thus the extra heft and thickness just ahead of the eye, which is what inspired me to do the silver nameplate inlay.
  15. 7 points
    Hi All This was supposed to be a feather damascus blade, well that worked on one side but I really liked the other side so I continued with it. Total length 48 cm (19 inch) blade 35 cm (13.75 inch) Stabilised Elm burr capped with brass fittings. I might have to have another go at the photo's and a detail shot. Richard
  16. 7 points
    Hey again, everybody! Here is my latest piece, a type XVa longsword, that many of you have been following in my WIP thread. I don't really have a lot to say about it, it was a really fun project, even though there were some bumps in the road (keeping it straight in heat treat was a pain) The whole sword is just under 1.9lbs, or 850 grams. The ferrules near the guard and pommel are mirror polished copper, I spiral fluted the cocobolo grip, the ferrule/ring... thingy in the center of the grip is mirror polished copper with silver wire lines inlayed on it, and polished silver spacers on either side. The blade is 34" long, spring tempered 80crv2 from Aldo, if my calipers were working I'd give you all stats of the distal taper, but it's a convex distal taper, I believe it's about 7mm thick at the base. To give you an idea of the handling, the forward pivot point is about an inch behind the point, and the hilt node is just above the copper piece in the center, right in the heel of your hand when you hold the sword. Closeup of the absolutely murderous point The copper and silver spacer in the center! I am really happy with this detail
  17. 7 points
    Greetings everyone, I’ve got a commission that has started me down the multi-bar road, so I thought I’d try and do a WIP. The commission is for an anglo-taxon style broken back seax with an 18” or so blade. I decided to do a basic 3 bar blade with wrought iron on the top, a twist in the middle, and high layer count on the bottom: I made my 3 bars, the middle being 36 layers of 15N20 and 1095, and the edge was 432 layer of the same. I tried using hose clamps to hold the bar together and I thought it worked really well. I forged out the blade about 70% of the way and realized I had been forging upside down - d’oh! Nice wrought iron edge. I did what I could to recover something from the mess, and ended up with these two blades: The smaller one is 6 1/4” (158mm), and the larger one is... well, larger (I forgot to measure it). I'm very happy with the pattern, thought I wanted tighter twists. Learned Lesson #1 - make sure you clearly mark which way side is the edge and which is the spine. Attempt #2: So I started again, same plan. As I was forging I realized I had a gap opening up between the edge bar and the twist in a particular area of the bar. I realized that was where the bar had not been square, but had gone diamond shaped on me. I tried rewelding it a couple times with mixed success. One spot just wouldn’t stick even after soaking overnight in vinegar and then fluxing heavily. So I had to shorten the blade to 14” (355mm) to put that spot in the tang: I hit the split with the TIG welder in the tang. A tiny bit goes into the blade, but it’s only on one side, and there is another small weld flaw a bit farther up, but again it was only on one side, so I left it. BTW, thanks to Emilliano Carrillo for coaching me through all these problems via text :-) Learned Lesson #2 - square-up your bars before welding them together. So, attempt # 3. Third time was a charm: I made sure my bars were square, cleaned the sides to be welded carefully, And hammered gently when forging until the billet had enough time/heat for the welds to really set. I did my best to normalize the blade, but I had to do it in sections because it was so long. Then it soaked overnight in vinegar to remove the scale and on to grinding. It took me about 4 hours of grinding to get it down to where I wanted it. I forged it a bit thick on purpose so I could grind past all the surface wrinkles and such caused by the patterns & welds. I ended up with this: The tang had to be cut because I can only fit 23” in my heat treat kiln. This has very light etch on it to show the pattern because the next step was a wire inlay of runes. The customer happens to be an expert in Old English, so I trade him the pattern welding of the blade for a low volume of his translation services in perpetuity. His last name happens to be Bishop, and we decided this blade would be named “Bishop’s Boar”, which he translated into “bisceopes eofor”. I printed out the runes on the computer so the spacing would be correct, and taped them to the place i wanted them on the blade. I then cut through the paper with a utility knife to mark them on the blade. It works surprisingly well, and doesn’t rub off. I cut the runes with a Gravermax engraver. They are pricey, but are pretty much the equivalent of a power hammer for engraving. You can do so much more work so much faster. My technique is pretty basic. I’m inlaying 22ga wire which is about 1mm in diameter, so I cut the grooves 1mm wide and half mm deep. As wide as the wire and half as deep seems to be a goodformula no matter what width the wire is. This is essentially how I cut the grooves. I always try to cut to another groove if I can, and i take 2-3 passes to get down the half millimeter. You have to be gentle when engraving or you snap points Once you have the grooves cut you need to make them into a dovetail to hold the wire. I’ve tried a number of techniques, but the one that seems to work the best for me is Matt Parkinson’s - just come in from the opposite side at a 45 degree angle with a chisel directed into the bottom corner of the groove. It’s nice because the metal tends to raise up when you do it so you get visual confirmation that you’ve done it. It also holds the wire the tightest according to my yank-on-it tests. I hammer the wire in with a hammer made of graver stock. Just like a regular hammer it needs a smooth face with no sharp corners. This is what I end up with. You should be able to tug on the wire and have it not pop out. If it does, clip it off, recut your dovetails, and start again. Super short piece will pull out easier than long ones, so be gentler with them. The most important detail here is that that i leave the wire proud of the grooves. After heat treat the wire will be dead soft from quenching, and you can do another round of hammering to get it just a little farther and tighter into the grooves. Here it is completed. And here are the tools I used: Channel cutting graver on the bottom right, chisel for setting the dovetails on the bottom left, hammer on the top, and flush cut jewelers snips for cutting the wire off. Heat treat was done in a kiln with an argon atmosphere. The argon prevents decarburizing and eliminates most of the scale. Here’s the inlay after heat treat and a second round of hammering the wire. This inlay took a total of 5 hours even with a Gravermax and some experience. I machine sanded the whole blade to 240grit, then started at 220 by hand and went down to 600. Etched it for 4 10 minutes sessions in ferric chloride, then hit it with a 1000grit stone and then 1500grit sandpaper. Up next is the handle, which will be cast bronze with an attempt at faux-garnet inlay and carved bog wood. We'll see how that goes...
  18. 7 points
    Hello! Some time ago I have started the project of wolf teeth spearhead that Niels Provos had posted, and I discovered that in the middle of process So firstly, I want to show you ready spearhead, and then photos of process of forging step by step. Please enjoy and comment The spearhead's socket is 21cm long and blade is 45cm long and 7cm wide, socket is forge welded from old iron, blade is made of 50HF spring steel and low carbon S235 steel. Each teeth is welded from separate piece of tooth. Firstly , I drew the project in the 1:1 scale with every dimension: Then I cut the pieces from steel sheet for blades, twist and core. I used S235 and 50HF 2mm steel sheet. Billets ready for welding, 2 on the right are made of 20-layer only 50HF steel, next is made of 16 layer S235/50HF for twist and the last one on the left is made of 26-layer S235/50HF billet for the core. Now after the first welding, everything is ready for cleaning and cutting. The bar for blades was cut in 5 pieces, so after welding it has 100 layers, The billet for twist was cut into 2 pieces and there was added a solid piece of 50HF steel in the middle, and the bar for core was cut into 4 pieces, so after welding it has around 100 layers. the bars are ready and the longest one will be twisted into 4 separate pieces, on the left there is the test piece for socket to check the dimensions that i need for welding. Preparation of core, shorter pieces are made of s235, loger ones of 50HF steel for contrast. The bars for blades are cut into 3 pieces each, so now they will have 300 layers.. Core is ready and 2 billets are made of 2 pieces of twist There are 2 pieces of welded twist and a piece of bar made of old iron After cleaning and cutting I made a billet from old iron,and also I cut the twist and welded it on the core. The twist was welded with core, and old iron plate for socket is ready. I forged the blade bars into square, 2cmx2cm. Now i forge the shape of blades, after that I cut the teeth in it, and from the piece of round bar s235 I forged the bar, grinded it to shape that matches the teeth grooves, cut it into small pieces, placed it into the grooves and welded it to the blade. There you can see all of the pieces that were used for the welded spearhead. On the right there is the mandrel for welding the socket. Teeth welded into the blade bars. All of the pieces for the blade are welded and ready to forge, The plate for socket is cut and cleaned. And this is the blade after welding it into one piece. There is the plate after rolling it on the mandrel. And this is how it looks after welding process. I welded on the swage block, before welding I heated the mandrel up to the orange temperature, and when socket reached welding temperature, I placed the mandrel inside it and welded it on the swage block, after each welding I removed the mandrel, heated up the socket and so on. Then I welded the socket into the rest of the spearhead, grinded it and heat treated. This is how it looks after the heat treating. And ready for etching the spearhead. Regards, Rafał Garbacik.
  19. 7 points
    Here's the photo this post needs - the graduating smith and his blade:
  20. 7 points
    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
  21. 7 points
    Here is my first one for 2017. Damascus 1080 / 15N20 ,crushed W's,stretched Maple handle with stainless fittings and .015 fiber spacers
  22. 7 points
    I thought I would share one more of my somewhat recent works. I finished this one back in June but never had it photographed, after asking the customer if they would mind sending it back for photos it can finally be shown. This one is one of my personal favorites with a beautifully chatoyant damascus and awesome ironwood burl for the handle. Let me know what you think. Thanks for looking! -Robert
  23. 6 points
    Hello everyone. Finally something (allmost) ready. Puukko with turkish walnut handle and brass fittings. Blade is german springsteel. Sheath will be ready later. I will add the pictures then. Hope you like it...Best regards..Lauri
  24. 6 points
    I am in awe of a lot of the work on this forum. I lurk, read and practice...some better than others. I do blacksmith work, fabrication and steel art mainly as my artistic outlet, bladesmithing is something I am intrigued by. This is a 9 3/4 knife forged from roller chain. The handle is Cocobolo with brass pins. Quenched in peanut oil and triple tempered. Not perfect but neither is it a freshman effort. Your impressions would be appreciated. John
  25. 6 points
    I don't often post a project on here unless it is really a special one and this one I think qualifies. This is by far the largest knife I have made to date and was a custom order for my take on the historic Musso Bowie, with a couple of exceptions 1) the customer wanted fossil walrus ivory and 2) the sparring bar was to be made of damascus, which presented some notable challenges. Over all the blade is 2 3/4 inches wide and the blade is 14 inches long with the handle adding another 5 3/4 to the overall length. The sheath also had my first inlay of python skin which was interesting to work with. But I'd love to hear your thoughts as a more historic bowie is out of my normal wheel house, but it was a great learning project. Thanks for looking! -Robert
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