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Showing content with the highest reputation on 02/24/2020 in all areas

  1. 5 points
    Forging the Blade The raw material for this blade spent most of the last century on a former homestead. A large portion of the steel was used for another blade, this was the piece cut from half of the left side. Slowly drying the clay for yaki-ire over the embers in the charcoal forge. After yaki-ire, an #80 grit Sun Tiger stone reveals the approximate hamon as the geometry is set. Habaki Habaki forged to shape in preparation for silver soldering in the charcoal forge. The habaki is textured with files and patinated using a blend of copper salts similar to rokusho. Ireko Saya A two part black buffalo horn (ura) and blond cow horn (omote) lock keeps the two halves aligned when joined. The omote half contains the edge entirely and has an oil collecting reservoir at the tip. The ura half does not contain the edge, keeping it entirely in the omote half. Kataki Tsuka & Saya The hardwood block is split and carved out to fit the ireko saya and the tang and then rejoined using sokui (rice paste glue). This wood is very hard on tools and they require frequent sharpening. Nori-urushi, a mixture of natural urushi lacquer and sokui is used to reinforce certain areas, particularly the koiguchi where the wood is thinner. Mixing the urushi and sokui along with a bit of extra water to help it cure inside the joint. It can take at least a month to fully cure nori-urushi inside a wood joint, more time is better for strength. After the nori-urushi is fully cured the tsuka and saya are shaped with kanna and smoothed with fine rasps and the horn mekugi peg is fitted. An antler crown and tip are used to form a very organic kurikata (栗形, a cord loop) and obidome (帯留, “belt stop”), usually called kaerizuno (返角, “turn-back horn”). The antler kurikata is fit to the saya using a carved sliding dovetail, with no room to spare! The kurikata slides in from one side and then tightens as it reaches the final position. The obidome has a tenon that fits into a mortise carved in the saya, again carved right to the ireko saya. The obidome/kaerizuno will be attached with sokui after the saya is lacquered. In preparation for lacquering, the open grain is cleared of dust using a stiff brush. Ready for fukiurushi, the thin layer of wiped on urushi will preserve the interesting surface texture of the wood. After the lacquer has cured the surface has become a rich, glossy dark chocolate colour. Polishing Once all the parts are made and fitted the blade can be taken through the final polishing stages using Japanese waterstones. The natural #700 used to remove the last of the arato/kongo-do stone scratches. Several stones later, hazuya and jizuya fingerstones made from flakes of uchigumori-do and narutaki-do koppa attached to washi paper with natural urushi are used to even the surface and add depth. This stage is very time consuming as is the uchigumori-do before it. The fine surface grain of the steel brought out by the uchigumori stone throws multiple colours in sunlight. Final Assembly A look at all the koshirae parts before assembly Antler kurikata and obidome attached using sokui and tapped into place with a small mallet. Inserting the ireko saya into the koshirae. Completed aikuchi koshirae. Furusato tanto forged from reclaimed antique steel. View of the spine with peaked iori mune. Macro detail of the interesting texture of the Tshikalakala wood pores.
  2. 4 points
    A little more progress: The tang end sticking out will be penned over. There are some weld flaws there but I don’t think they extend to where it will be peened. I plan on doing all the engraving before I put it all together. Now we are too the blank canvas stage. I get really nervous because one cut could ruin a lot of work... Getting the design right and then getting over that inertia for the engraving is the hard part.
  3. 2 points
    Got this one finished up, bar for the sharpening this evening. I forged the blade last year, and it was not very pretty, left it too thick from the hammer, and its fought me right the way through as a consequence! - Core is not centered, but its servicable. The blade is from pre-laminated san mai, with stainless cheeks, and aogami super blue core - The handle is home stabalised spalted beech, and stabalised bog oak. Not sure if I like it yet, but that might be a consequence of it kicking around the shop for so long. I will put it away for a few days, and look at it with new eyes when I sharpen it! All feedback appreciated, as ever
  4. 1 point
    Furusato (故郷, pronounced “foo-roo-sah-toe”) means home place or hometown and contains the ideas of being rooted or grounded wherever one may sojourn, and a confidence and longing for return. "When difficulties come, I remember my home place…Someday I shall fulfill my task. And, then, return to my home place. To the green mountains and clear rivers of my home." Takano Tatsuyuki, Furusato Materials for the wabisabi aikuchi style koshirae mounting include Tshikalakala (Wenge) wood for the kataki tsuka and saya, Hounoki (Japanese Magnolia) wood and cow horn for the ireko saya, copper bus bar for the habaki, buffalo horn for the mekugi, and pieces of shed antler for the kurikata and tsunakuchi. The tsuka and saya are finished in a thin layer of kijiro fukiurushi (wiped lacquer) made from natural source urushi lacquer. One of the most technical challenges of this project was creating the ireko saya (入れ子鞘, nesting scabbard) lining within the tight constraints offered by the original block of wood. A refined detail that is normally hidden from view, the ireko saya protects the blade from the hardwood. A focal point for the koshirae is the unique antler crown kurikata which is reminiscent of a mushroom contrasting against the dark wood of a tree. Specifications 長さ/刃長 Nagasa: 7 sun 3 bu 5 rin (227mm) 元幅 Motohaba: 7 bu (21.25mm) 重ね/元重 Motokasane: 2 bu (6mm) 反り Sori: uchizori 中心/茎 Nakago: 3 sun 2 bu 3 rin (98mm) 柄長 Tsuka: 3 sun 7 rin (93mm) 拵全長 Koshirae: 12 sun 9 bu 5 rin (392mm) 形 Katachi: hira-zukuri, iori-mune 刃文 Hamon: suguha 帽子/鋩子 Boshi: ko-maru 中心/茎 Nakago: futsu, kuri-jiri, one mekugi-ana, signed near the tip 銘 Mei: hot stamped katabami-ken kamon 拵 Koshirae: aikuchi, issaku more photos and info here: http://islandblacksmith.ca/2019/08/furusato-tanto/
  5. 1 point
    There should be separate bars for the neutral and ground wires. If the two bars are bonded in the box, it doesn't matter which one you tie to. That's why I want to see the photo. So I can see if the two are bonded or not.
  6. 1 point
    This will work. I have a couple pieces of machinery wired like this.
  7. 1 point
    This afternoon, I got the guard and spacer package set on the take-down EDC. Got the handle block fitted and bedded the tang.
  8. 1 point
    Where's that popcorn emoji when you really need it? Love it.
  9. 1 point
    This is what I did this morning. Then I did some work on my 6 blades project.
  10. 1 point
    Alex has it right. Check the welder specifications. Generally they require 2 hot legs and a ground. In a main electric panel, the neutral and ground bars are tied together. They are separated in a subpanel. Take a photo of the inside of the panel and post it, so I can see what is going on in it.
  11. 1 point
    The two on your breaker are for your hot wires, usually black and red. Your ground (bare copper or green) and neutral (white) will go to the appropriate bars inside your panel. The three on you plug will be for the two hots and the neutral, there should be a separate screw, usually tinted green, that you connect your ground to. It's pretty straightforward, but then again, I did manage to electrocute the crap out of myself a few weeks ago........
  12. 1 point
    250mm along the edge, about 53mm at heel - its a bit of a beast! Its only the 2nd time ive tried a 'K' Tip, the first one had a weld issue so went to the scrap pile. Im not tuned in to making the profile at all - its a bit alien to me!
  13. 1 point
    Gerhard, I don't think you need that tightening screw on the bottom of your clamp. If it's a full rectangle, the pressure from the adjustable clamp on top should pull the bottom up enough to lock the movement of the clamp for and aft. Slick idea, for sure.
  14. 1 point
    First dry fit-up: As you can see, I opted for a bold pattern in this blade.
  15. 1 point
  16. 1 point
    Germanic spears based on the Vimose finds. The longest with an octagonal sleeve is 48.5 cm and weighs 330 grams. The other two have rounded sleeves, 39.5 cm and 38.5 cm long, and each brew 300 grams. The knife is a Germanic standard with a Vimose pattern from a single-edged sword. Blade 19 cm long, whole knife 30 cm.
  17. 1 point
    Just so y’all don’t think I dropped from the face of the earth.... I’ve been working on the handle, sorry this is not much of a WIP, I am doing this in a completely different way than anything I have done before and every step is a series of experiments. Here’s a couple in progress shots. Josh, you will probably notice the tang changed quite a bit. I hope you don’t mind, I needed it to fit the curve of the handle. Also, you’ll notice it changed compared to my sketches up above. This is how it goes when you are using organic materials. The last picture is where I am at now. I have textured and sanded the first three parts (bolster, 1st piece of antler, and the first nickel-silver spacer). I shall press on.
  18. 1 point
    Well here it is all done, I am happy with how this turned out in the end esp since it is my first sheath of this type and also my first go at leather tooling (thanks Josh). I have a confession....I had become a bit stale and board with making knives and I feel this has lit a fire again and inspired me to delve into the artist within me. I am really looking forward to my next project which will be a sheath for my pattern welded broken back seax. I also got some 90cm lengths of 15n20 and 1075 so this year I hope to get creative with my blades too. Thank you to all who have come along for the ride and for those who have posted invaluable info throughout this forum esp in history. Anyhow it is Friday night in Australia and I am about to crack a beer and light the BBQ. looking forward to any feedback etc. Oh...one more thing. I would appreciate any info/suggestions on your preferred suspension for this type of sheath as it might very well see active service on my bow hunts.
  19. 1 point
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