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Showing content with the highest reputation since 03/26/2018 in all areas

  1. 10 points
    Hey everyone! I finished this piece a few days ago, so I took some photos and thought I would share! This began as a small billet for a demo at NESM for their annual hammer in, and upon finishing the blade a client signed onto the project, so I designed the hilt and we went from there! I still have to make the sheath, and when it's done I'll update this thread. The blade is seven bars of pattern weld, wrought iron on the spine, four twisted bars, more wrought iron, and then an edge of ~400 layers. The handle is moose antler, bog oak, silver, wrought iron, and rubies. I guess I'll do the usual and post a few finished photos and then a WIP! WIP time! So this piece started off as a billet about 8 inches long. I twisted everything extremely tight and laid up the wrought iron and edge bar. I tacked the billet on one end and brought it to Maine with me. I was invited to demonstrate on both days, and first gave a lecture on the historical seax and then did a practical demo the next day, forging a long seax. I then brought the blade to Zack Jonas' workshop a while after it was finished and began to work out what the design should be. Drawing from a few different artifacts I designed something that intrigued me. I used a few drill bits and a set of needle rasps to get the bolster fit properly. Here you can see the fit bolster next to the sawn bog oak and the drawing I made for the client. I used the needle rasps to file and clean up the slot for the tang to seat in the wood properly which is a new trick, I promptly went and bought my own set after! That's as far as I got at Zack's, and upon returning home I began to shape the handle. I always do my rough shaping on the belt grinder to establish the lines I am after and then use files or sandpaper to refine the shape. In this case I am going for a slight hourglass shape and need to do some careful firework to establish my lines. After about an hour the work is done and I can polish to about 400 grit in preparation for the rest of the detailing. At this point I figured I would set the half moon shape on the bolster as per my design. I did this freehand on the grinder and then polished with some paper on a flat surface. Here you can see there is a slight inletting in the edge side of the bolster to allow the blade to sit better. I used a jewelers saw to begin the cuts for the silver wire and then a series of files and rasps to make the recess for the wire. After some epoxy and a few wracked nerves the silver is in place. I couldn't remember what size bezel wire I had used in the past on the amber seax, but I did some experimenting and figured it out. Here's the piece next to the scaled up drawing I made to keep with me as I was working. I think I'll start doing this more in the future. I cut out the piece of fine silver and annealed it, then bent it to shape on the back end of the bog oak grip, and because it was so soft it readily accepted its new shape. I took some nice wrought iron I had and cut a small coupon off and drilled and filed a hole to fit it to the tang. My original thought was to make the pommel just a cap and not be held on by the tang, but Peter convinced me I should weld an extension to the tang and peen the pommel on. Here I am using sharpie to get a vague idea of where I should grind to. I never really do this sort of work with a caliper and exact measurements, instead using my eye to get things close. I may change this some day and do more exact work, but for the style of work I do I feel that this gives my work a more 'organic' nature. I roughed in the shape on the grinder and then drilled my holes. I probably would change the order of operations next time. Once the pommel was roughly fit I began to tune the shape with files. Eventually I ended up with this. I began to peen the bezels in place from the inside to hold them properly. I did all of the setting work before attaching to the handle so I could burnish all the way around easily. Once the rubies were set I peened the whole thing together after administering some epoxy. Here you can see the peen isn't cleaned up yet. After some careful belt grinding and 2000 grit paper to clean the peen up, I went out back behind the shop to take some photos! I hope that's helpful or at least informative, thanks for looking guys!
  2. 10 points
    I apologize again for my relative absence, I try to remember to post here but since I know so many of you outside the forum now, I tend to forget I'm sure many of you have already read this and seen the pictures, but for my friends here who aren't on Facebook or Instagram, here you go I've taken the time to focus on improving my knowledge and skills this past month of September, trying to achieve some things I've never been able to do before. This started by spending an entire week in New Hampshire at Zack Jonas's shop as a student of the one and only Peter Johnsson. That week, I took a sip of knowledge from a fire hydrant of information. Peter was an insanely great teacher and was able to get some valuable ideas through even my thick skull, and I got to experience some things that will stick with me for the rest of my career, such as handling 2000+ year old swords, knives, and scabbards, staying up at night having philosophical discussions around a fire... This has all been tied up into a bow with the completion of this sword. It's a British style middle La Tène era sword I've named Epona, after the Celtic goddess of horses, who undoubtedly would have been important to warfare and calvary. It's a happy coincidence that I chose the British style, since through a convoluted string of events, I recently discovered that pretty much all of my heritage comes from the British isles. The blade is a lenticular cross section pattern welded blade, made from a mix of high carbon steel and old wrought iron in the core, and high layer Damascus edges forge welded to the softer core. The hilt is made from ancient bog oak graciously given to me by my good friends Dave Delagardelle and Tony Greenly, and the spacers are bronze in a stacked construction, just like the ancient British swords. During the finishing phase of this project, I spent about as much time wearing an optiviser as I spent without one. I put more skill and attention to detail into this piece than I have on anything I've ever made, and I feel that it marks a new era in the quality of my work. Thanks for reading everyone! If you've read this far, thanks a lot! Let me know if you've got any questions, critiques, comments, etc!
  3. 10 points
    Hi All! Haven't been here for some time... I've been learning, and improving skills Here there is a scramasax forged out of 5 bars: 3 x twisted rods (45/68/45 layers) + spine and cutting edge of 80CrV2. The handle is made with bronze spacers, deer antler, pear wood and black leather spacer. The "eye" on the butt is brass riveted and soldered from beneath. Overall len.: 515mm/20,27" Blade len.: 323mm/12,71" Handle len.: 184mm/7,24" Width: at handle: 33,5mm/1,32", at widst point: 35mm/1,38" Thickness: 5,5mm/0,22" Weight: 483g/17oz Let's save the words, pictures show some stages of work
  4. 9 points
    I've been working on a pipe tomahawk head and finished up the filing on Sunday. After taking the last few strokes with a 3" needle file, and seeing the 16" mill bastard next to it, I thought it would be of interest to some to see the results of drawfiling the way I do, the end result, and every single file I used on the project. First, drawfiling. For hawk heads, there's really not a good way to finish them totally on the grinder because of all the odd curves and stepped lines. Well, maybe if I had a small wheel attachment, but not as I am currently set up. I forge to shape, remove the scale and rough profile with an angle grinder, then use the belt grinder to rough in the surfaces, although it's not strictly necessary. Once the scale is gone you can jump straight to filing, I made hawks that way for eight years before I got the belt grinder. Once I have it as flat as it's gonna be on the belt grinder (36, 60, and 80 grit zirconia followed by A300, A160, A65, and A45 trizact), it's time to drawfile. I start with the 16" mill bastard, which immediately shows where the belt grinder did not make it truly flat. Then to the 12" mill bastard, then on to the six-inchers. Mill bastard, Mill 2nd cut, then mill smooth. After the last strokes with the 6" mill smooth, it's ready for 220-grit paper. I originally took this picture to show the carbon migration from the 1084 edge steel to the wrought iron body, but then I realized I had never posted a picture of a properly drawfiled surface. There are still a couple of 36-grit scratches on the edge steel, but that will be ground away after heat treat. Yes, this is not yet hardened. Also, I should mention if you don't have a belt grinder you can do the entire thing with files. Just takes a little longer. Next, here is the result of all the filing, both draw and push. See what I mean about things you can't do with a belt grinder? Every last bit of surface you see is the result of filing. There was a lathe involved in creating the bowl, but files were used on the bowl while it was in the lathe chuck as well. Note this is as-filed, it has not been sandpapered yet. Well, the molding between eye and blade has been cleaned up with a 1/2" sanding drum for a Dremel, but that's it. Finally, the files used in making this hawk: From the left, we have the 16" mill bastard with one edge ground safe (heavy stock removal and rapid drawfileing), the 1/4" chainsaw (setting some of the curves on the lathe), a 14" long-angle lathe file (fast stock removal push-filing, tends to leave a smoother surface than the 16" mill) 12" round file (lathe work), 12" mill bastard for intermediate smoothing, 8" half-round for setting the transition from eye to blade and shaping that little step on the bottom, the three six-inch mill files (bastard with safe edge, 2nd cut, and smooth), two 6" three-squares, one slim and one XX-slim with a safe edge (these were used to make the grooves and clean up the inside corners on the bowl), and finally, the 3" round needle file that was used to clean up the grooves. The 16" is the workhorse of the family. Used as a push file it cut the shoulders on the transition and the V on the eye. As a draw file it flattened and blended the blade. The long-angle lathe file has two safe edges (meant to be used on the lathe, it won't mar the chuck). The round file and big chainsaw file clean up my sloppy lathework on the neck of the bowl. The other bastard files are just used to clean up after the one before. The three-square XX-slim with one face ground smooth can cut dovetails, but it also acts like a knife to cut very sharp straight lines for the grooves. The slim three-square follows those lines to widen and deepen the cut, and the needle file removes the coarser marks of the bigger files. And that's only about a quarter of my file collection...
  5. 8 points
    At long last . . . Here are the AF 2016 demo videos. Huge thanks to Michael Bergstrom of WildDog Creative who volunteered all the labor, equipment, and massive editing it took to put these together! Michael's a member of the forum and is making some pretty nice swords of his own lately. Enjoy guys! Dave
  6. 8 points
    Hello: Finally something interesting and funny on this end..a while back (several years) a friend of mine's son was joining the US Army so I made him a rr spike knife when he graduated AIT..He carried it for many years and used the beegeezus out of it... No complaints at all...until now I was just notified that the blade has been pretty much destroyed when so Yahoo tank driver drove his M-1 Abrams over his gear and well..it seems that the knife..in one last act of defiance somehow got up into the tread between tread section and the blade was pretty much peined over 90 degrees..( it did not break..) causing the tread to jam and pretty much disabling the tank.. The odds of this happening must be astronomical.. a $45.00 knife takes out a 4.3 million dollar piece of equipment.. I am trying to get a copy of the maintenance report ..Believe me I will use it on my website... Needless to say I sent him another rr spike knife.. Buck has their bolt cutting..Cold Steel has their chop socky/slicey videos..Amateurs!! How many makers can say that one of their knives can stop a tank..in a combat zone none the less?? NONE!! And folks say that RR spikes don't make good knives... Well all I can say is -- Take that!! This news came at just the right time as I needed a major "pick me up" with all that has been going on here.. Thought I would share some good news for a change... I got a real chuckle out of this and I think ya all will as well... JP (Tank Bane) H
  7. 8 points
    Little broke back, wrought and 1075, nickle silver and white tail antler Sword with bloom iron core, 1075 edge, bog oak and copper inlay fittings Wolfs tooth seax, wrought, 1075 edge, brass and maple burl Tiny tiny knife. Micro twist spine of 1075 and 15n20, serpent of mild and wrought, edge of 1075, copper and maple burl Large seax is 1095 ans 15n20 made by my friend and i handled it Serpent seax Little broke back pweld with antler and bogoak
  8. 8 points
    A friend of mine who hails from the aforementioned Gallifrey once told me it doesn't pay to muck about with time, despite the fact that he (now she, it's a long story...) does it all the time. To that end, I got this item from an alternate timeline in which a breakaway kingdom of Saxons ended up in what we now call Scotland. We are all familiar with the other Saxon kingdoms, i.e. Essex, Wessex, Sussex, and Middlesex, not to mention Kent, Mercia, and Northumberland. In this other timeline , there was a more northern kingdom as well, Norssex. They employed the techniques the other Saxon kingdoms did, but in that other timeline they never went away. There was no Norman conquest, because King Harald of Wessex didn't have to fight the battle at Stamford Bridge, and as a result was able to beat William at Hastings. All this mucking about with time seems to have resulted in this blade, which displays an odd combination of form and technique. Basically, it seems to be in the shape of an 18th century Highland Dirk, but the blade and fittings are pure Saxon from the 6th century in Kent. If not for the hilt, I'd call it a short broad seax. As part of its unusual journey through time, some parts of it appear far older and beaten-up than other parts. The chape, for instance. It is needle-sharp at the tip, but somewhat the worse for wear. The frog has a couple of odd plaques of garnet cloisonné reminiscent of the Staffordshire Hoard. The pommel is very interesting, taking the form of a Kentish circular brooch. Together these embellishments are quite striking. The hilt itself appears to be ebony, with inexpertly produced carving, probably by an owner rather than the maker. Pity, it would have been nice to have good carving there. The blade is where it gets interesting: It appears to be a composite of three bars of interrupted alternating twists of high-phosphorus and low-phosphorus wrought iron, with a little steel for good measure, plus an edge bar of pure steel that shows a very slight hamon low towards the edge. The ferrule/bolster thingy has an integral blade collar similar to a habaki. The pattern in the blade is subtle, best seen close up. Or even closer. The shiny iron is low phosphorus, the darker is high phosphorus. The wide bands are actually shiny, but appear dark in this picture because I had to mess with the contrast to bring out the grain. Overall it's about 14" long, and 1/4" wide at the spine with no distal taper until the tip starts to curve in. My time-travelling friend couldn't say much about its origin beyond what I have related above, but I hope you will agree, it is a most interesting artifact. If you have any questions I'll do my best to answer, but it will just be me, the Doctor (as she is called) is very hard to contact when she (or he, I never know what he or she is going to look like from year to year) is off doing whatever and whenever it is he or she does. I'd love to hear your thoughts and speculations on this piece regardless. Thank you for looking.
  9. 8 points
    Hey Everyone! I have here a few lot of photos of a commission I have been finishing over the last few weeks! It is a blade made for a good friend and client who has been amazingly patient with my slow progress. I'm happy to have it done and wanted to show it off here! First some finished shots and then the WIP shots. Enjoy! Some stats first! Blade is 30.5 inches long and weighed a little over 600 grams on its own. The finished sword weighs in at 1036 grams. It is pattern welded and made in four bars, a random edge of 300 layers and two seven layer twists with iron on the spine. The hilt fittings are iron with silver wrap. The grip is basswood covered in hemp cord and then leather dyed dark. The scabbard is made of sheepskin and poplar covered in linen and then leather, with a maple scabbard bridge. It is made in a historical style drawing very heavily on several original artifacts the client documented and shared with me. The proportions and sizes are an amalgam of several of these artifacts, mostly from Ireland. This sword is purpose built, it sings with intent and seems to pulse in your hand. It is alive and strong, quick and keen, and sings sharply as it cuts through the air. So! I started with a few billets of steel and iron and went to town; here's the WIP! The bars each received two tight twists in small sections offset from each other, trying to make a nice repeating pattern that is not matched from bar to bar. Here I have the bars laid up and ready for welding. A bar folded to 300 layers of 15n20 and 1084 and the two twist bars, seven layers of 15n20 and 1084, and then a spine of wrought iron. A kind of wonky time lapse video of forge welding the billet. Unless I am doing a small knife or seax I like to do my forge welding by hand. IMG_0694.m4v Apres forge welding! Nice and clean looking. I actually over estimated by quite a bit and the billet was about 40 inches long when finished. I cut off the excess and forged a foot long seax out of it, which I'll post about sometime later! I cut the tip and began forging the shape of the blade. The tip shape of this sort of sword is very characteristic of the style and hard to miss. Very flat spine with an often rounded and abrupt tip taper, sometimes more gradual like mine. And the rough forging is done! You can see the radius of the fuller forged in near the shoulders of the blade in the reflections of the water. I try to forge everything as close as possible before beginning the heat treat or grinding. Fast forward a little while and you get to this! I brought the sword to Matt Berrys place and used his luxuriously long heat treat kiln. I had to quench the sword 3 times because of a pretty drastic curvature that occurred. Because of the wrought iron spine the sword gained positive sori and ended up looking like a beautiful katana, which would have been great if it was meant to be a katana... So I did it again, and then a third time, with a pre forged downward curvature, which straightened out slightly and ended with a nice slightly curved blade. These blades have a very characteristic downward curvature seen in most examples. This is a pretty clear sign of oil quenching, as the quench is slower the edge pulls the blade downwards, and with water the spine cools more slowly which pulls the blade up. IMG_0762.TRIM.m4v The blade sitting after quenching and after cooling enough to stop curving up. The pattern showing through the scale. Post temper! I almost wish I could have left the sword like this. So at this point work got a little crazy and I took a break from commissioned work. I was able to begin planning the rest of the sword, but it would be a few weeks before I could work on it any more. I sketched up the hilt fittings based off a few originals my client had a chance to document, and based some of the proportions off this sword in Jeff Pringles collection. With my magical drawing in hand and boat shaped forms in my mind I began to forge the hilt components. I took a page from something Peter Johnsson taught me and made a punch the shape of the blade at the base to create my rough guard. Then it's time for drilling and sawing with a jewelers saw to create the correct slot to fit the tang tightly. I find it really nice to have a drawing to work from. My pieces aren't made perfectly in my minds eye and then on paper like Jake does, and the shapes and forms occasionally go through some changes, I find it really helpful to have a drawing that is roughly what I am after to base my work off of. Like you can see it is rough and quick but allows me to annotate and measure and riff off my design easily if need be. And shazam! Guard is polished and etched with the upper guard on the way. I chose some basswood I got from Jesus Hernandez. It is easy to work and robust, making good tight fitting channels in just a few minutes. Once the channel fits the tang properly I can glue the halves together and prepare for the rest of the grip work. I changed direction a little bit here and drilled and filed the upper guard to fit the tang and the rivets for the pommel. Here are most of the parts 'assembled' to get a feel for the size of things. A shot of the sword from the bottom, showing the character of the iron and the tang end to be peened over later. While I was working on the guards I decided to start the sheath core. Like usual, I'm starting with 1/16 inch poplar which I cut slightly oversized to fit the blade. I got some help from my girlfriend shearing some Icelandic sheepskin short enough to line the inside of the scabbard with. It is grained material, so you basically have two options, you can orient the grain in or out so that the sliding action is smooth going into the scabbard or out of it. I chose to have the action smoother for the draw, as I imagine a smooth draw is a little more important than a smooth re sheathing. The material does seem to soften up after a while, and the difference is now barely noticeable though at first it worried me. I like to use a worn out 36 grit belt and the flat platten to shape my wooden grips. I find I can make them very accurately and size them appropriately to the project. I account for the cord and then leather that will cover the grip. It should feel slightly emaciated when holding it in your hands at this stage. The beginning of the hemp wrap. And ready for leather! A leather wrap on its own is strong and can add structural strength to a grip, but cord added to the underwrap can really add a huge amount of resilience to your grip. Using hide glue and some other tips from Peter I begin to skive and prepare the leather for wrapping and gluing. After some diligent and careful work I can sleep and let it do its own thing over night. You'll probably have noticed the scabbard core. I glued the sheepskin to the inside of the poplar slats and then glued linen on top. The linen acts as a semi flexible cover to help the scabbard move and bend without breaking but allows it to remain rigid at the same time. This will be covered in leather later for durability against the elements and to further strengthen it. I have made the rough iron block the pommel will be shaped out of. I drilled holes and set pins to allow me to assemble the whole thing later. And filing time! A rough fit of the pieces to get an idea of where this is going, so far so good I think! Next I dyed the grip a nice dark brown using tape to keep dye from the pores of the iron. And the pommel is shaped and etched! Now for the silver wire inlay. Wrapped and soldered. I filed and forged in some spaces for the wire to lay, as well as the peen of the sword. And assembled! I don't have any photos of the actual assembly, it got kind of crazy and I forgot to get out my phone. So now that the sword itself was done the leather work was next. I had one bad application of leather and had to remove my work. After some careful wetting and pulling and cutting I was free of the old work, and could begin fresh. There is something beautiful even about failure. Undeterred (kind of, I had to wait a week for new leather to arrive) I began anew, and didn't take any photos of the process as leather work is quite stressful for me, and I spend most of the time the glue is malleable massaging and working the material to get it just right. I set up the risers to hug the leather cord I plan to use to attach the scabbard bridge later. I took a piece of maple I liked, and began with that worn out 36 grit belt. In about 15 minutes I was ready for filing and sanding. I use a pencil and files to mark out and create the indent for the leather cord to tie the bridge to the scabbard. And a few minutes later! Finished and oiled. Fairly low profile, to accent the graceful and quick feel of the blade. Next I finished stitching the scabbard, another fairly stressful task made more enjoyable with television and some choice beer. Late that night I finished stitching and was ready for the tying of the bridge. And finished! This sword took about 120 hours to make from start to finish. It was a hugely fun project and I hope to revisit the idea of a single edged sword some other time! For now other smaller pointy things lay in store for me!
  10. 7 points
    Here is the result of about a year and a half of practice. I will not claim to be Sami, or even that this is a Sami knife. But a couple years ago I saw some of the beautiful work done by Sami Craftsman and decided I wanted to learn how to do it. This proved to not be an easy task. First, there is very little information out there on the process. Second, there seems to be a lot of misinformation out there. Third, most people I showed pictures of the knives to couldn't figure out why I liked them as much as I did. But... for some reason I am obsessed. I started following the few makers on Instagram I could find. I studied every post they made for clues. I asked questions and practiced. I found a couple WIP walk throughs and they helped a lot. I tried elk bone, mule deer antler, White tail antler, and Elk antler. I started cold calling reindeer farms for reindeer antler. I made multiple different engraving tools and failed many times before I found what I liked, and I'm thinking about changing it again. When I got to the sheath I spent hours trying to figure out what kind of leather to use, and subsequently the people at the local Tandy leather store thought I was nuts. But I finally found a place in Sweden that knew exactly what I wanted and shipped it pretty reasonably. Here is the result. My 13th knife. My first "Sami influenced" knife. It is a conglomeration of many experiments. It turned out quite fancy for my tastes and I think the next one will be more geometric, but for some reason I wanted to challenge myself with curves. 1075 blade, hand forged. White tail antler and cocobolo for the knife handle. hidden tang construction with threaded tang and holding nut with overlying wood inlay. sheath is leather and scrap walnut. Without further ado: Some in process Pictures: Some of my practice progress over the last year. You can follow along from left to right with some examples of my engraving attempts and also my progression of different engraving blades. I hope this isn't to many pictures. I visit this forum daily. I'm a pretty quiet person in general, and I do not post often because I don't feel I have much to add, but I wanted to let you know how much I appreciate this forum. The level of craftsmanship on this site are inspiring and you all have taught me a tremendous amount. Let me know your thoughts. As always, critique is much appreciated. When you stare at something for so long the eye gets biased... That and all the little mistakes become glaringly obvious. Adam
  11. 7 points
    I finally finished my first viking sword that I made all-by-myself. The big challenge on this one is that wide shallow fuller - I've never done that before and it looks difficult to get right. Here's the sword blank (1075 steel) with the bevels forged in. I shaped the initial blank with the power hammer, and then hand forged the tip and the bevels. I didn't take a picture, but the bevels are forged in with a spring tool whose dies are radiused to 6". Here's the result: Slightly crooked, but it gets a lot of the steel to the right areas and significantly widened the blade. It also made it about an inch longer. I did run the fuller all the way back through the tang. One of the biggest challenges on any sword is getting it straight in all dimensions. Here's how I start to establish a straight edge - marking fluid and a scribed straight line down the edge. It will move during the hardening process, but it's much easier to get back to straight when that's where you started. Doing it this way also means that I don't have to rely on the sword sitting flat on a surface. The fuller being straight struck me as the biggest challenge of the blade, so I made this contraption to grind the fuller straight: It's essentially a really big work rest (with legs) and a sled to hold the blade level as I move it. It worked very well for the rough grinding of the fuller. It got it nice and straight. After that all the grinding was done by hand. Not ruining the nice straight fuller is much easier (but not easy) than trying to establish one by hand. The wooden sled is a prototype and I learned a couple important things from it. First, make it metal as I set it on fire during the grinding. Second, without some kind if repeatable indexing for holding the blade you can never get the blade back in the same position again, so make a better sled or do all the grinding you can the first time. And yes, that's a 6" wheel on the grinder. The finished blade was pretty much straight. The sides of the fuller are a bit wobbly because that line can't directly be made straight - it's created by the interplay of the fuller and the bevels and is affected by the thickness of both. All you can do is make both as straight in all dimensions as possible and then do some cheat grinding where you didn't get it quite right. The guards and pommel are carved from wax. I modeled them after an original that I think is in the Swedish National Museum (but I could be wrong). I get the overall shape completed and fit them to the blade before I start decorative carving. That way if I blow some fundamental dimension or the fit, I haven't ruined lots of hours of carving. Skipping over a whole lotta work, here's the final product: The blade is 28" (711mm) long and the sword is 34" (863mm) overall. It weigh 2lbs 13oz (1146g). The handle is stabilized cherry burl, and the fittings are all bronze (90% Cu, 10% Sn) I'm fairly happy with it. I'm going to make the next blade a touch thinner as this one has a little more forward weight than I personally like. But then again another smith who held it said it was the first sword he really like because of that slight forward weight. It does let you know exactly what it's for - cleaving.
  12. 7 points
  13. 6 points
    The blade for this Bowie is made from 1080 high carbon steel, blade length is 256mm, blade width is 42mm and blade thickness on the spine is 6mm. The blade has been differentially hardened with the surface finished with a hand rubbed 600 grit finish. The overall length of the knife is 404mm including the pommel nut. There are three coined nickel silver spacers, two either side of the gun blued bolster which has one central groove. The gun blued D, Lisch style split ring guard has two clam shells and vine file work on either side of the hand guard tine. The Sambar stag handle has been dyed with Fiebings mahogany brown leather dye and sealed with Danish oil. The butt cap is gun blued steel, filed to match the flutes on the stag and has a planished top surface and is held in place with a gun blued pommel nut.The leather sheath is a Mexican belt loop style with tooled edges, dyed golden brown, the body of the sheath has a front panel of python skin surrounded by a black tooled leather frame.Thank you for taking the time to look gents, as ever all comments and critique very welcome.Steve [u
  14. 6 points
    I couldn't find a forum for this, so since I'm a beginner, I put it here: Got a dog from the blacksmith down the road.When I took him home the other day he made a bolt for the door.
  15. 6 points
    This is my take on the Zorro sword from the last movie, not the kind of sword project I normally take on but it was a fun and challenging build. Specs are 32" blade 1.5 at base 39" overall right around 2lb balance is 3.5 from the guard blade is L6 fittings are polished 1018 handle is wood core cord and leather the studs are stainless steel as are the ferrals . The scabbard is poplar with felt lining leather and stainless steel fittings. thanks MP
  16. 6 points
    The manager of my local bar is moving to Oz, and the staff asked if I had anything part finished that I could personalise for him. This is a blade i made a couple of months back to fit a handle that hadn't worked for the blade it was originally intended, which is kind of fitting as the staff of this place are like a makeshift family of waifs and strays (which is what they call their Christmas dinner every year...). The blade is clay hardened 1095, and the handle is bubinga with a buffalo horn bolster and copper accents. The inlaid copper runes on the spine read 'Old Inn', and I was tickled by the All Father hiding within them, and there is a bind rune for the managers name on the butt. Anyway, pics: let me know what you think...
  17. 6 points
    After 14 months of work I finally finished this folding knife. All the yellow parts you see are 14K gold plated.
  18. 6 points
  19. 6 points
    Hi, so I finally finished this one. Many thanks to everyone who offered their advice. So my intention was a fusion of a western fighting knife with Japanese style. Obviously I'm not the first to try it, I certainly won't be the last. I wish I could have done fullers but they were beyond my current skill level. Unfortunately this blade was my second attempt and I have a very similar one with horriibly uneven fullers. Blade is 9" of W2, sharp coming and going. Blued damascus fittings, and curly maple handle. I know the cord isnt traditional, and the knots aren't correct. If any one knows the correct knots for a handle were wrap doesn't pass under handle please let me know. Thanks for looking.
  20. 6 points
    Just finished this up for collection tomorrow, to be worn at a wedding on Wednesday... clay hardened 1095 with fuller, sharpened clip and filework, antler handle with carved and distressed bog oak back, copper spacers and sculpted blackened steel mounts, a wire brushed bog oak pommel, butt stitched leather sheath: let me know what you think...
  21. 6 points
    Hello everyone!!! This post is a little long, because it tells the story of a love at first sight that began a few years ago, when I first saw an XVIIIc of Alexandria's arsenal. I was seeing her and wanting to have her. It takes some years to acquire the necessary skills to try to build it. Here is the result. I first obtained a facsimile of the Park Lane Arms catalog as a guide. Since the described sheet of only 4 mm was as fine as it was strong, we started with a steel cut silhouette 1070, tempered and straightened, which remained at 55 RC. Then, I started making the concave bevels in the belt sander with a curved back with a wide radius, to achieve a just center to edge emptying. He was controlling the distal taper without touching the forte and reaching 2.5 mm at the tip I finished the central bevels by hand. the thickness of the edge is 0.7 mm in the strong and low to 0, 3 in the percussion point. I was ready for defense and Pommel. A little ornament with gold inlays and a Venetian silver coin from the year 1400, but minted today! then we start with the wooden hilt covered with thread and upper leather. Once ready, it was sharpened and polished. I started with the scabbard in a livable way with two wooden caps emptied with a trail of wool fillet inside and vegetable tanned leather 2 mm thick. we choose a suitable renaissance motif to chisel on the surface of the leather, once ready, we dye and wax the surface irregularly then we prepare the chappel with a simple engraving. And here is the result. As always, I say that the next one will be better. The measures are as follows: blade lengt 88 cm, blade width 75 mm , weight 1400 grs , pp 55 cm, pb 12.5 cm. It feels light and agile in the hand.
  22. 6 points
    Let me present Veðrfölnir - named after the hawk with the same name, which sits atop Yggdrasil - the world tree. Description - blade: The blade is made from three bars of folded and twisted steel. Two bars are made from railroad steel from the Numedal Railroad here in Numedal, while the bar for the edge is made from Farriers rasps mixed with 15n20 steel. Hardness at edge: 58 HRC Description - handle: The handle is made from stabilized grey Maple, Holly, Brass, white vulcanized fiber as well as mammoth ivory which is between 10 000 - 30 000 years old. The handle is engraved with Elder Futhark runes, written in English. The text reads: "Better to die with Honor, than live with Shame" followed by owners name and surname initial. The engravings has been filled in with ashes. Description - sheath: The sheath is in vegetable tanned leather with certain engravings, stitched using grey tiger thread and saddle makers stitches. Stained in antique black leather stain and treated with antique leather fat. Any comments, input, critique and suggestions are as always - very welcome. :) Sincerely, Alveprins.
  23. 6 points
    Doug Ritter & Knife Rights is holding their annual auction with the proceeds going toward lobbying against anti-knife legislation in Washington. This Schively inspired Bowie is my donation to the cause and will go to one of the bidders: https://kniferights.org/ultimatesteel/2018-ultimate-steel/
  24. 6 points
    So here it is, just as the title stated. This started off as a cutoff from a mosaic billet I am working on(which will be done sometimes next decade), and I had enough steel to forge out a knife, and this is that knife. Low layer high contrast paired with a crazy burl. The billet is 44 layers that was forged on the bias for some crushed W's, forged into a bar, and then forged on the bias again into another bar. How this is the result is beyond me. Anyhow, the steel is 1080 and 15n20, the guard is bronze and g10, and the handle is stabilized dyed Box Elder burl. The Blade Length is 4.75" and the OAL is 9.75" Thanks!
  25. 6 points
    Confused by this. Sam . . . what's up with the attitude? Someone politely asks for a photo and this? Hope I'm missing something here, some playful banter I'm not getting. If so, sorry for being the dumb guy that had things go over his head. If not . . . well, Don wouldn't like this tone . . . get me? Dave
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