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  1. 11 points
    My latest... I tried a lot of new stuff on it, which mostly worked out. I tried hard to minimize struggling edges... 15" dagger, midrib blade in Zanjir multibar pattern weld with turkish cores and explosion edges. Ball guard and wheel pommel in low layer pattern weld. Grip in "cage of bars" style with twisted pattern bars over leather wrapped walnut core, based an ancient hand and a half sword of Oakshotte XV typology. Through-tang peened construction with two-piece ferrules and peen block of parkerized iron. 21.5" overall, 1 lb. 8 oz. in weight. Pics and a vid... hope you like!
  2. 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
  3. 10 points
    As we look Back it is always hard to tell if such a knife was made for a Dwarven Hero or for a Hero of Men, often these details are lost in the mists of time and imagination. Either way this is a stout stedfast and robust knife (certainly Dwarven made) perfect for heroic undertakings, expeditions in search of gold and adventures beyond the realms of men. “If hunting Warg, or tracking Dragons,a stout knife is always a benefit. Keen of edge , a true stroke struck will not be repelled by the stoutest hide. But after the adventuring is done and mead is flowing. When the fire is sizzling with aromas , the hunters legacy roasting….Then tales are told and knives passed around the hall, adornment , edge and jewel reflected glittering in the firelight. The deeds of the day become bigger , wolves become wargs and tall tales become legends. The knife blade is made by me and the handle, sheath and all the other lovley bits are made by Petr Florianek (Gullinbursti) ( This 12” bladed knife is forged from 4 bars of patternweld, there is wrought iron on the spine and 2 bars of 5 later twisted steel. The edge is 300 layers of folded damascus steel, the swirls in the pattern showing the multitude of hammer striked used to forge the blade. The knife adorned with carved brass and antler, silver and garnet. Fierce beasts are carved into the handle and a Dragon writhes carved amidst the brass and garnets.
  4. 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!
  5. 8 points
    So Emilliano had this blade he wasn't sure what to do with, and i had this set of wax fittings I'd been carving for a while as a side project, and Ashoken was 2 weeks away... The fittings started out as an attempt to reproduce these Z type fittings: For those of you who have Fedir Androshchuk's book Viking Swords, this is sword Dr12. Roughing in the parts: and the basic shapes finished: That was a crap load of work and I was getting ideas beyond reproducing the original, so at this point I made silicone rubber molds of the parts so I could take them in different directions. I like carving wax, so I decided to just kinda take off in a Urnes direction and carve up one set with intertwining serpents. You'll notice that the pommel pictured here is not the one on the sword. I carved it, but to my mind it wasn't working with the other parts the way I wanted. It was right about here that Emiliano and i decide to create Fingrbitr, so I had my work cut out for me. This is the pommel we ended up using, prepped for it's silicone mold. I could have cast the original carvings, but that can be risky and I thought i might want to use this set again so I made molds. The waxes are then fit to the blade. You don't have to do this, but it cuts way down on the fitting work when they are bronze. The bronzes were cast from the copies: Once cast there is a decent amount of clean-up to do - cutting sprues, removing bubbles, etc. Then it's back to fitting the parts to the sword again. Fitting them in the wax means that all I really have to do is some filing to account for the 2% shrinkage of the bronze. unfortunately I didn't take pictures of the handle process. Basically it's 20ga wire wrapped around a fitted wooden core with bands on the end to hold the wire on. I did smear the core with acraglas before winding, so it shouldn't move. After doing this core I'd recommend thinner wire for wrapping. 20 ga is very hard to work with even dead soft. I'm going to drop to 24ga for the next one, and looking at the few originals I think their wire might even have been thinner. So the friday of Askhoken this is where we were at 9:00am. Our mission? Get the damn thing put together quick enough that we wouldn't miss dinner. This is when Fingrbitr really earned its name... T
  6. 7 points
    What you didn't learn on "Forged in Fire" Everyone needs to read, https://www.bladesmithsforum.com/index.php?showtopic=3328 This thread you are reading is basically an update in some ways. It reflects some changes in equipment and is a reaction to a new generation of "knife curious" potential bladesmiths and knife makers. There have been some new developments and perhaps more consensus on some things has emerged in the past 13 years . This is not meant to be any definitive everything for everyone project, merely a common and basic starting point for someone who wants to give it a try. Most of what is here can be found in threads throughout the forum. I just thought it would be nice to have some of it in one place. The answer to almost any knifemaking question can easily be found on this forum by a simple Google search of the forum--- key word (s) site:bladesmithsforum.com" (The forum's search function is not really the best way to go) My goals are to answer some often asked common questions, provide a loose framework for someone to work within to make their first knife as far as the steel and its handling goes. The actual " shaping" of the steel is only going to be lightly touched on. It seems to be a small part of the questions and new threads started on the forum. There are plenty of threads about that part but there are too many details to do the subject justice. There are some things that are absolute, some very flexible, and some that are strongly suggested. Absolute is safety. Please read and familiarize yourself with the topics in the "Shop Safety" section of the forum. They are there for a reason. One of the warnings that has arisen of late concerns galvenized metal. DO NOT attempt to heat galvenized metal in a forge or otherwise. It produces toxic fumes and can be deadly. Besides that, the steels that are galvenized are not of much use in knifemaking anyway. To begin with, have every detail of the design worked out before anything else. Besides the fact that it will keep you from having an "uh oh" moment with a handful of wet epoxy and parts it will also allow you to see what is actually possible before you paint yourself in a corner and not have a way of accomplishing what you started out to do. A common example of this is in the area of guards and scales or handles. Study these things on knives you can actually handle and see why some have "stick tangs" or "bolsters" or how "pommels" are attached. One thing that commonly happens is someone who gets pretty far down the road working on a blade and they ask "what kind of edge should I put on it?" This should really be a big part of the project from the beginning. There are may options Scandanavian, convex,hollow ground etc. The maker should have their choice in mind from the start. It would probably be a good idea to get in the practice of examining every knife you can to determine the type of edge it has and how that fits in to its profile, design, grind the bevels and their purpose. A piece of steel may be used to make a cold chisel, a hatchet or a skinning knife. Each may work well at its intended task but their interchangability is limited in part by edge geometry. All of the types can be searched for and their are some excellent graphic examples on the internet waiting for a general search. When you have that clear in your mind it is time to assess your equipment. Do not let a lack of "professional tools" slow you down. Remember great knives were made by bladesmiths for a long time with little equipment. Here is where a divergence occurs and you must be aware of it and the implications of your choice. There are generally two ways to make a knife from piece of steel: stock removal or forging, but bear in mind the two are not completely mutually exclusive. For instance even if you are a great 'smith you are still going to use tools in finishing that are also useful in stock removal and in fact you are "removing stock" in the final steps. Conversely if you are stock removing when you get to the heat treating, hardening and tempering you will need some type of forge that would also be suited to forging. So let's take a look at an idea for stock removing from a very basic tool level. A bench vice would be close to neccessary but if the right sturdy bench is available clamps and a support board under the blade will do. For shaping or "profiling" a bench grinder, with the stone wheels would be a nice thing to have, again elbow grease and creativty will do. Perhaps using a hacksaw to cut sections close to the profile might be a possibility. We should wander into the area of steel choice for a moment because one of the first thing most everyone does is get their first piece of steel. Brand new steel is STRONGLY suggested for several reasons: in our modern era cutlery steel is downright cheap (in the long run) ,although it generally has to be ordered in around four-foot sections and shipping is positively ridiculous, it pays for itself as opposed to going somewhere scrounging to get a piece of mystery steel who's use history and even actual composition is questionable. REMEMBER not all leaf or coil springs are 5160, not all saw blades are L-6, not all bearings are 52100 not all files are W-2, and on and on. Once the steel has been made into something, unless the steel type is marked on that object there are very few sure things. These differences are critical when heat treating or even just deciding whether a piece of steel is worth bothering with. It is also significant to remember that salvaged mystery steels are most likely already hardened and tempered for their original use, now you have to figure out how to anneal it, which will be specific to it's alloy, which you don't know for sure, before you can work with the piece (reasonably for your tools) or heat treat or harden and temper. Yes folks HAVE worked a blade out of mystery steel without annealing but to advise someone to start that way is like helping them learn how to cook an omlette by starting out with " first gather firewood and build campfire...". If that isn't convincing enough think about when something goes wrong and you have to ask for help on the forum. It is about a 50/50 chance that the problem is related to the steel alloy ( or the answer to the question is) without knowing the steel for sure answering is problematic. A problem with a "known" steel will get a useful answer quickly. Each alloy has its own "language" and most makers speak several but have no idea what language your mystery steel speaks. A word on "stainless steels" not reccomended for beginners- most difficult if even possible (depending on alloy) to forge. Heat treating properly is complicated and not for a beginner or anyone with just basic equipment. Yes, you can get some stainless to "harden" but what is the grain structure like ? What percentage of the carbides did you get into solution? Stainless steel blades, not optimally heat treated, hardened and tempered, are not as good as a basic carbon steel properly treated with basic equipment. No equivocation about it. Period. It only takes one learning experience to prove the value of buying new steel. Even when everything has gone right using mystery steels, I have lost track of the number of people who have said "....but it was sooo much easier the first time I used new steel." If I had to pick one power tool that I personally would want first I would have to say "some form of electric drill", for me at least. I think I have probably put more things in the chuck of a 3/8" hand drill and used trying to make a knife than anyone I know. Stones, sanding drums, flap sanders, all with limited success but I have yet to find anything that drills a hole better than a drill, imagine that. A drill press is great but I and others have managed with a hand drill. Files rank up at the top of the neccessary list. Do a search on the term "drawfiling" and learn. If you already have a couple then use them for the first blade. If you are using new steel you will know quickly whether they are working or not. Also do a search for "filing jig". I wish that idea had been around years ago. There are many types of files and different price and quality levels. Use what you have or do your research before buying. "Wet or Dry" or similar abrasive paper in grits up to 600 or 800 are good to have as well. Of course the upscale option is the belt grinder. It is a toss up between forges and belt grinders as to which is the most talked about tool on the forum. Anvils are nipping at their heels . There are so many options if one wants to acquire a belt grinder it would take a book to cover the topic. The only thing that comes even close to a majority agreeing on is that it is probably best to start out with a 2x72 from the start if you can. The benefits to the most popular size just plain outweigh the advantages of any other size. Past that, 2 wheel, 4 wheel, home made, store bought, all reliable brands, each category has supporters. Again, there is a ton of information on the forum waiting for a Google search. ( I do feel compelled to give one warning at this time. The Oregon Blademaker models have been getting good reviews and as a result knockoffs cheaply made overseas have been showing up. These low grade copies are not even trying to offer themselves as cheaper alternatives. They have even copied OBM's advertising and are similarly priced. They are very close to being some form of fraud. I don't own an OBM, although it was a top contender when I upgraded, I ran into the copies, which have horrible reviews from those conned into them, while comparison shopping.) We do not really need to discuss forges in depth. Lord knows there are some very good threads about them on the forum including the pinned threads. Let it be enough to simply and broadly cover the options. Solid fuel forges, be they charcoal or coal are the oldest type obviously and they have their strengths and weaknesses. If one of these is chosen "for economic reasons" beware. You still have to feed the beast that means buying coal or charcoal or taking the time and expense to acquire proper wood and build a method of converting it to charcoal. This takes time and bites into the economic reasons. It is also an outdoor only option unless suitable hooding and vents are built. (which doesn't do much for the economics argument.) You will also need a suitable air supply, some form of electric fan "plumbed" in. Many of us started that way, some continue to do it. If the circumstances allow there is absolutely nothing wrong with it at all. It can be a great choice. It just takes the right situation to actually make it, either financially or time efficient. If you have the desire, your climate and fuel supplies allow don't let the "old fashioned" factor cause doubt. Many fine blades are still being made that way. It is a good way to "get your feet wet" at the least. If it's your best option then go for it. Propane forges come in two, general, flavors: "blown" where a fan is used and "venturi" or naturally aspirated. Each has their own advantages and disadvantages. It is quite possible to build some designs very cheaply and rival a solid fuel forge in initial building cost. The physical and practical difference between the two is in the burner. A "blown" forge has a very simple burner and the flame is pushed by the air thrust in the burner by a fan of some sort. The "venturi" forge uses a bit more complicated burner with a small jet that uses the pressure of the propane tank and the vacuum effect to draw air into the burner. There are seemingly endless debates over which is "better" or "cheaper to run" . I have come to the conclusion that the quality of the construction and design has much to do with it. A good one of either is better than a poor one of the other and if both are set up optimally in equal forges and used by the same person the difference would be minimal. DIY versions built "for cheap" depend on what YOU have or can get "cheaply" . If you work area has electricity and you can get the fan cheap a blower might be the way to go OTOH if that isn't the case then you may want a venturi. If you don't feel comfortable building the burner part (which is dirt simple with a blower) and you want to buy the burner I would suggest a higher end venturi model from one of the folks that make reputable forges. This is because there are very few, if any, blown burners being sold seperately that are "plug in and play" ready. There are several people making cheap venturi burners but great care should be taken, if one goes that way, to research the "customer satisfaction" level and bear in mind the level of experience of those who report. Someone who just built the first forge they've ever used may not realize that the burner hasn't been set up optimally or efficiently. There are a lot of poorly designed forges out there that are being sold cheaply. Let us say "under $200". These are almost always "venturi" type since they don't have to include a "blower" which allows them to be cheaper. The pity is that some of them contain most of the material that would be used to make a much better forge IF they were designed properly. It is a "buyer beware" situation. To actually "beware" you have to be educated. That is where Google searching this forum comes in. If you decide to build your own do not just copy what you see on someone's advertising site. Just because they have pictures on Ebay does not mean they make a good forge. At this point in time we have at least one member here who is very generous with his time, sells many of the materials needed to build and would be glad to help. You really need to set aside a few hours, wash your "Google-Fu" uniform, tie your sash properly, sit down comfortably with nourishment and refreshments and start with " forges site:bladesmithsforum.com" While we are on the topic of heat we can, very simply, handle the tempering issue. You must, in the vast, huge, majority of cases "temper" the blade immediately after hardening. This, at the very basic level, involves "baking" the blade in an oven at a specific temperature depending on the steel and the hardness desired. It is entirely possible to use your kitchen oven but not a great idea for a few reasons. There is a simple alternative. A cheap, used, thrift store toaster oven, a cheap oven thermometer (found in the grocery store baking aisle. Ovens of all types are just not to be trusted to work as accurately as a cheap, grocery store thermometer), a tray that fits in the oven filled with sand and you are good to go. Whether the kitchen stove or toaster oven is used the sand tray preheated as the oven heats will level out the up and down cycles of most electric ovens of all types and makes. A thin fire brick can be used in place of the sand tray if that is easier to acquire. When we get to the "forging tools" side of things everything said before about tools applies. The only other things needed, since the forge is already on the list, are an anvil-type object, something to hold the hot steel, and a hammer to hit it with. The dead simplest and cheapest "tongs" I ever used were a long handled pair of plumber's " channel locks" . Those and my upgrade to "vise grips" taught me to "move with a purpose" when handling hot steel. But, there has been nothing better when I've used my little "one-brick forge" .The hammer is only slightly more complicated. It should really be a hammer designed for hitting metal. Sometimes Dad's old carpenter's hammer will work and sometimes it's an old "rim tempered" make that does not like to be smacked on steel and will dangerously shed chunks eventually. It should also be, as well as can be done, matched to the object used as an anvil. If you end up improvising a 20# stump anvil a 4# hammer may may not be as useful as a big ball pein hammer. Remember that heavier is not always better. Anvils are definitely a topic all of their own and that is just the ones designed to be anvils. It is impossible to list all of the things in the world that could be used in place of an "official" anvil. The existing threads on anvils are worth reading BEFORE buying ANY anvil. Some "improvised" anvils are much better than some of the "Anvil Shaped Objects" being sold today. With all of the improvised options it is not that hard to get by quite well, making blades, for a long time while searching for a good anvil ( based on the advice in the threads) at a reasonable price. Just as a small example of an improvised anvil, one of the best is a section of a forklift tine. That would work much better than some of the cheap, new "ASOs" out there and a lot of the older anvil as well. Once again there are a multitude of threads on the topic. Now we can focus on steel choice. Again, to make sure it set in, you CAN use mystery steels especially if you HAVE EXPERIENCE judging spark patterns on a power grinder and if you know how to make a test piece, harden it, break it. This will just make sure the steel is hardenable, THEN, you can make another piece and this time go through all of you proposed heat treating steps harden it, break it and then, if you again have experience, you can examine the grain structure and figure out if you have the ideal heat treat dialed in. If not you get to try all over again. From there you have to research the proper tempering temperature for the Rockwell hardness level you want. Bear in mind that there are some steels that will "air harden" this is an important thing to know. It can be very frustrating to try and do something as simple as drill the holes for the pins to hold the handles on if the heat from drilling hardens the very spot you are drilling. If it still seems to be worth it to use mystery steel, fly to it. First however go to the "Metalurgy and other enigmas" section of the forum and read the pinned " Junkyard Steel Facts" thread to get an idea of what you are dealing with. OR You can start with a new, known steel and enjoy the fact that all of that has already been done for you and the optimal methods are easily found and monotonously repeatable. Salvaged mystery steels can have a place if you are willing to work at them but I, for one, would like to see every beginner have a successful experience their first time out. It makes it easier to retain the positive lessons learned from success than dwelling on the causes of failure. The craft is about constant improvement and it is difficult to be consistent in developing skills with unknown variables being tossed in the learning mix. It is almost unanamously the suggestion that, for a novice using new steel, 1084 steel is the optimal choice. This steel is equally as good for forging or stock removal. It can be heat treated very close to perfectly with simple equipment and it will produce a knife ( when well designed and executed) that will be equal to most all factory made carbon steel knives, by most practicle measurements. In addition it is a "language" that most makers speak and diagnosing issues is rather simple given all of the combined experience available. It gives a common foundation to discuss the various adpects of bladesmithing/knifemaking, so that other useful things can be learned faster. One of the most often mentioned alternatives to ordering 1084, and a very good option, is finding a spring shop in your area and seeing if they use 5160 steel and if it would be possible to acquire some of their "drops" or cut offs, scrap. For our purposes it works well and the heat treat methods for 1084 are compatible. If available it's an excellent option if it is true 5160. To give just the most cursory view of steel without getting bogged down in creating an encyclopedia I will use the already mentioned 1084 steel as a basic example. The "84" references the fact that the steel contains .84% carbon. This is about all the carbon needed to form a good cutting edge. It as the highest level of carbon that will go into solution without other elements to make it complicated to deal with. Most steels that have more carbon than that become "complex steels" due to other alloying elements added for various purposes. These elements, in most but not all cases, add complications to the heat treating process among other complications. Bear in mind that very few steels are intended primarily as "knife steels". Most steels are designed for industrial, manufacturing, production, construction and such uses. "We" just borrow them and adapt them to our purposes. The very basic makeup of 1084 makes it easy, relatively, to heat treat, harden and temper. The same applies to 5160. BTW your local Ace Hardware or Home Depot does not carry steel stock that is suitable for making decent knives. Naturally the choice on dimensions for the new steel is divided again by " forging vs stock removal" . This is subdivided on an individual basis by the maker's design. Remember, with forging you will be moving steel, with stock removal you will be removing steel. For starting out forging I think 1/4" is about the right thickness if you remember that you don't need the piece to start at what you want for a finished dimension- you are going to move it to those dimensions. For stock removal I have to go with 3/16". This of course will be a bit thin for a " Rambo kills two bears, three bad guys, and drops a fir tree " knife but let us think about this for a moment. New to making, do you really want to invest the steel to make a 4 1/2" (minimum) handle, 9" + blade on your first try? Wouldn't it be more practical to make a smaller, 4" bladed skinner/ hunter/EDC, where you have smaller dimensions to deal with? Match the width to your design. Get your "chops" down on smaller designs and save the "impressive Bowie that will make men jealous and women swoon" until your making skills are... well... "impressive". It is probably a good time to point out that trying to start out making "Damascus" multi layer/multi steel blades from the "get go" is not a very good idea at all. Rather like having your first driving lesson behind the wheel of a triple trailer semi. Too much going on at once. Imagine that you are trying to learn two new languages at once. You have to be aware that some steels will not readily weld to each other and, in fact, some steels don't want to weld to themselves. Better to have a good foundation in what to do with a simple piece of steel, and do it properly without excessive complications. If you are stock removing I will mention a "Flintstone era" trick I used for my first few stock removal blades. Without having any machinists layout dye I took a sketch I made on paper and then wrapped the steel in white painter's masking tape and transferred the design to the tape with carbon paper. The tape didn't last long but it allowed me to set in the lowest points, where the most stock had to be removed, first and they, then, served as reference points. It also gave me the chance to evenly start the pullouts on both sides. ( the "pull out"is the point, in front of the ricasso where the taper of the blade, from spine to cutting edge begins, or lower than the spine if the design calls for it.) It is reccommended for a first knife to bypass the instinct to make a "sabre ground" blade and go to a "flat ground" design however. Getting the bevels on both sides of the blade to match up precisely is more difficult than it appears. A few other commonalities between stock removal and forging need to be addressed. the need to, whenever possible, plan ahead and drill any needed holes BEFORE heat treating and hardening. The reasons should be self evident. Although hardening does not always include the tang it will have been subjected to the heat treat and may not like the drill. There are ways to do it. The other thing is "distal taper". This the tapering of the blade from its start at the ricasso to the tip. Most knife designs include this feature save for some with a "Scandanavian" blade geometry and inexpensive kitchen knives. A very important thing to bear in mind, no matter how you are making your blade is to avoid having any major sharp corners on the blade when going into the heat treat and hardening. Hardening is extremely stressful on the steel. If, during or after the quench, the stressed steel encounters a ninety-degree corner it is going to want to crack at that point. This is most common in stick or hidden tangs with a shoulder behind the ricasso. Don't square these corners until after the stress has been relieved by the tempering cycle (s). Another thing to mention is to not get the cutting edge too thin before the heat treating work. Too thin and it will lose its useful carbon in the heat treat. About the thickness of a dime or a hair thicker should do. The old instructions for carving a bear from a block of wood applies, " simply look at that block of wood and cut off anything that doesn't look like a bear." Forging a blade to shape is a bit more complicated and very difficult to try and teach in words. Fortunately there is ample advice on this forum that's just a Google search away. . I would suggest learning about pre-forming the tip shape as this generally causes the first "What the ????" moment for the first time 'smith. Understand that hot steel has its limits. It will not tolerate being hit when it is either too hot or too cold. If you get it too hot it may crumble under the hammer. Too cold and you will create microfractures (cracks) that will surprise you later on during the quench or when you are finishing the blade. It is difficult to describe steel temperatures by color because everyone "sees" color differently and different light conditions in different shops affect how individuals perceive colors. This makes describing "too hot" problematic and we have to rely on safe generalities. To be safe, for the inexperienced, let us just say for now, when the color changes from bright orange to a yellow is a good place to "stop heating and start beating". Too cold is easier. "When it loses color and stops moving under the hammer stop hitting it." Moving hot steel with a hammer isn't difficult, just hit it and it will move. The trick is to get it to move how and where you want it to. Practice is the key for those learning on their own. Keeping it simple and getting it right is the best way to learn. Let's jump over the actual shaping of the steel by either method at this point and move to the heat treating because this is a common constant no matter how the blade is shaped. Besides that IMO it is pretty difficult to give a lot of advice on shaping a blade by stock removal or forging without having the reader just copying the favorite design of the writer and there is a massive amount of info already on the forum for those who are willing to search. There is also a certain " I know what I'm going to make" factor, which after all, is what you want to do . I am going to avoid using technical jargon any more than is absolutely neccessary. I know some folks dote on terminology but I also know that other folks eyes glaze over when a paragraph is filled with words they've never heard before. The proper terminology is available with a search if one is so inclined The basic idea is as follows ( remember BASIC). A piece of steel has to be hardened to make a useful knife. It has to be tempered to stay in one piece and not be brittle in either the body or cutting edge. A piece of steel should be heat treated so as to have the size and orientation of its grain optimized for the purpose of making a good knife. "Heat treating" is actually a rather broad term used to describe any application of heat, prior to hardening and tempering, intended to have a positive effect on the finished knife. Heat Treating can also be applied to the whole process to include the hardening and tempering but most 'smiths prefer to seperate the hardening and tempering into their own discussions for clarity. A good idea. There are two other terms that one runs into in the heat treating realm " normalizing" and "annealing" the first is pretty straight forward. Take the steel up past the "decalescence point" ( discussed in the upcoming pararaphs) and let it cool down in still air. This is comparable to a "neutral " state for practical purposes.True annealing, or softening, is more complex that it would seem. Just as there is no "across the board -works on everything" method or temperatures for heat treating and hardening, (with the exception of the decalescence point for most, but still not all steels)softening, or annealing, has the same complexities ( sometimes worse IMO ) there are a ton of "old wives tales" methods that are called " annealing. Most really aren't actually annealing though they MIGHT make a given steel easier to work by a little bit. Beware however that some of these "backyard" methods, when used on some steels, may actually have the opposite effect. Complex, air hardening steel can actually be made harder to work by some so-called "annealing" methods. ( been there, done that, got the T-shirt, burned a hole in it.) Using a new steel annealing need not concern us but normalizing is not a bad idea at all for a blade that is done with the forging process but needs machining or heavy filing. It would do no harm at all to normalize before the full heat treating process and a good case can be made for doing so. Heat treating a steel like 1084 is fairly straight forward . Many say that, if it has been purchased new from certain dealers and used for stock removal it doesn't need heat treating prior to hardening. Others say that if the steel has been forged then the forging and heats will have done it as long as the steel wasn't overheated. Who is right ? I am not sure but I do know that if I give every blade at least a couple of heat treating cycles, regardless of forged or stock removal, I feel like I have done the best I can. Just as the debate about "if" heat treating there are debates about "how" most folks have a favorite technique but all of them will depend on one big word that the new 'smith must learn " decalescence". This is also crucial to the hardening process. When a steel is heated up to a certain point a visually observable change happens. It is perfect indicator that the steel has reached the proper temperature for quenching but it is also a point to look for in heat treating. Observing the steel in the forge one can see, somewhere in the orange/yellow level, shadows start to dance on the steel. This indicates the structure of the steel is changing to a form to a point that it is ready for hardening and, as luck would have it, for making a good blade. When the heat increases the shadows disappear and the intensity of the glow increases notably. This is full decalescence. For heat treating 1084 I would suggest taking it to the full decalescence, letting it cool to ambient temperature the taking it up to a point where a magnet doesn't want to stick to the steel but not near decalescence, let it cool again and the heat it to just where the eye can detect the beginning of a dull red color. I would do this cycle twice. There is some debate about whether a magnet is useful. It is NOT an indicator of proper quenching temperature for 99% of all blade-use steels no matter what the guy down the street says. I am of the camp that thinks it makes a good way to help determine the temperature of any magnetic steel because unlike decalescence, which varies widely with the steel and its alloying elements, all steel loses its attraction to a magnet at 1417 F, or very close to that. If one observes the color of the steel at that point, in those conditions, one has a visual mile marker for temperature. If one decides to do the heat treating cycle with the second step below non-magnetic they the have a visual reference. This can be established on the way to decalescence. Assuming 1084 is being used then the hardening and tempering couldn't be more simple. Also assuming the reader is on a budget they are in luck. It does not require an expensive quenching oil. Simple canola oil does very nice. It just needs to be heated, by a hot piece of scrap steel, to around 120-130 F or just hot enough to be uncomfortable to the touch. It should be pointed out that in most cases water is not worth considering as a quenching medium and certainly not for a beginner who has reached that point with all of the work they have put in. Water just loves to crack blades. No matter what the specs on a steel say, their suggestions are based on a thicker piece for different applications. Blades are thin and don't like the stress of hardening. There are ways experienced 'smiths can use water for some steels and some purposes, but you can bet that several broken blades were made before the 'smith was "experienced". Have the oil heated in a metal container deeper than the length of the blade. Wear heavy gloves, watch the blade heat to full decalescence, with a simple steel hold it there for up to 5 minutes if you wish, some do some don't, then quench tip down in the oil. Do not move the blade from side to side unless you really want it to warp. Hold the blade in for a " 6 Mississippi" count. Pull the blade back out for the same length of time then back in the oil 'till it cools. Of note, and a good reason for the gloves, check the blade visually for any warping when you pull it from the initial quench. Very often a warp can be straightened by hand, in gloves, before its temperature gets below about 400 degrees F. With heat more is not better. Unless you are working with a complex steel with special requirements because of its alloy taking a simple steel too far above the recalescence point after heat treating will defeat the goal of making a good blade. The grain will grow too large to make a good cutting edge and the blade will be fragile by comparison to a properly treated blade. If you have used a known steel and if you know what decalescence looks like and it was above that point when you quenched it in an appropriate oil then there is little need to file test it for hardness at that point. There are a couple of reasons not to, the first being it wastes time when you should be getting it in the tempering oven and the steel is still brittle. In order to actually test the steel you have to file through scale and a thing called "decarborization" on the blade. That is hard on files and you really shouldn't put much pressure on an untempered blade. Now put the blade in the oven that you cleverly preheated to 400 degrees . Put it on the sand tray or brick already mentioned and preheated in the oven and give it two one-hour cycles cooling to ambient out of the oven in between. When you take it out of the oven for the last time, it's intact and hardened and tempered you have cleared most all of the hurdles in making a knife. A note for those interested in trying to produce an " Hamon" on their first knife. Resisting the urge to mention it's not a good idea, it is best to use a different steel than 1084 or 5160. It would most definitely be best for them to start with a new, known steel. Many steels including most mystery steels do not make good hamon. A new piece of 1075 plus a good deal of reading threads on the topic would be a good start. Hamons are largely decorative only on a knife-sized blade. If you are convinced you want to try, again, Google search the forum. Bladesmiths here have more experience and success than any other place in the world IMO. Polishing and cleaning up a blade with start up tools is pretty straight forward. Use a file to get the unwanted crud off the blade and bring it out of its "shell" . When you have filed what you want as smooth as you can then bring out the abrasive sheets (sandpaper) back the paper with a rigid backer and set to work. It is advisable to use some form of lubricant with the abrasie paper. A light oil or some use "Windex" since it cleans up easily. Start with one grit in one direction and one orientation (along the blade length or across it) when you have gotten the finish as uniform as possible go to the next higher grit and sand in the opposite direction and orientation. Keep repeating through your various grits. Every option for putting the "furniture" on a blade (handle, guards etc) deserve its own thread. Fortunately there are plenty of those no further away than a Google search. A few very general observations about techniques and materials. Seriously consider moving away from the "5 minute" epoxies. Yes we are all in a hurry when we get that close to the finish line but quick setting epoxy gives little margin for error and induces stress to future projects after you have your first epoxy "whoopsie". "Stabilized" products are no better than the material stabilized. To put it in basic computer speak " garbage in, garbage out". You really shouldn't use anything because it was stabilized that is too fragile without stabilizing. Pay as much attention to the feel as you do to look. In the long run I find knife making by any method to be very similar to what I learned when I started out as a residential/commercial painter. The prep was everything. As my boss said. "90% of the skill is in what you don't see when you look at it." That is my idea of basic information that could be helpful to a person who wants to make their first knife and it might be useful to others. It is a tiny fraction of the information that exists, little of it is even very original. Further information on anything knifemaking related is available on the forum for the time it takes to do a Google search. There are always folks here who are willing to help and give you advice and share their experience.
  7. 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.
  8. 7 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. 7 points
    Hey guys! Matthew Berry and I just wrapped up a project we've been working on together for a while so we thought we would share it here! This has been a project we have swapped back and forth a few times and though some of you have seen it already I hope you al enjoy This project starts as most do, with a billet, or three. The blade is made of three twisted bars of 1084 and 15n20 with an edge wrap of 800 layers of the same materials. It weighs in at about a pound and a half. The blade is 30 3/4 inches long and has a fuller running almost its entire length on both sides. Rough forged blank ready for beveling and fullering. This photo reminds me a lot of burial swords with the patterns preserved in fire scale. I do all my fuller grinding for double edged swords free hand on a six inch wheel. I can get very thin blades with appropriate dimensions both in fuller depth and width with this wheel though I have considered getting a larger wheel (and a new belt grinder for that matter). This is the fuller being roughed in after forging. You can see flatter spots near the top of the photo and the more defined rounds in the center near the light bright spot. And finished and ready for heat treat! My only trick for grinding these is you are your own jig, you have to be able to use your body in a controlled manner and try not to sneeze! The fire scale revealing the pattern in the blade during normalizing. And heat treated! The blade came out almost dead straight and I was able to do some small tweaks during the superplastic stage, so no need for temper straightening. Back to grinding, I promise this will get more interesting once Matt chimes in, but for now it's just grinder pics, which are some of my least favorite. Grinding through decarb... And finish ground to 400! Here is the blade ready for hand sanding. And polished with a super light etch for the time being. At this point Matt came over and picked the blade up to do his magic. Stay tuned!
  10. 7 points
  11. 7 points
    Its been a few years since I have posted any knives. Not sure if I will be able to do anymore hand forging but did manage to get some desire back to put a few knives together. After retraining myself here's a couple of my newest knives. The smaller knife has a sambar handle and is 7" overall. The larger one has a deer shinbone for a handle and is just under 10" overall. Now as far as the blade steel goes pretty sure its not rebar. Actually think the larger one has a 1084 blade and the smaller one is most likely some type of saw steel. The blades were all extra's from over the years. I used mild steel for the fittings.
  12. 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
  13. 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.
  14. 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.
  15. 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/
  16. 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!
  17. 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
  18. 6 points
    Just finished this up. Clay hardened 1095, carved bog oak handle, sculpted copper ferrule and pin, leather pouch sheath ('Gralloch' is the Gaelic word for field dressing a deer...). let me know what you think...
  19. 6 points
    Here's the finished knife from my WIP: I hope that you enjoyed the trip through the construction of this one.
  20. 6 points
    I just mailed off an interesting project: The biggest carcass splitter I've built to date. It was the widest and heaviest blade I've made (though not the longest), and I really want to make more. Probably will have one on my table at the Blade Show in June. carcassplitterfinal by James Helm, on Flickr The blade is 18" long by 3 1/2" wide, with an overall length of 40 1/2". Its size made it difficult to take a picture that really showed the size and proportions correctly, but I got a few, and shot a video comparing it with an antique carcass splitter I was given by a customer. Here's the starting blank, cut from 1/4" x 3" 5160. carcasssplitter02 by James Helm, on Flickr After forging out, the blade was about 4" at its widest, though after trimming the end to be aesthetically pleasing, it was 3 1/2". carcasssplitter04 by James Helm, on Flickr Comparison with the antique carcass splitter. carcasssplitter08 by James Helm, on Flickr Ready to heat treat. To give an idea of size, my anvil is 148 lbs, and the face is about 4" x 15". carcasssplitter08c by James Helm, on Flickr It was so large, I couldn't fit the whole thing into my kiln that I use to draw temper. I ended up holding the kiln lid open with firebricks, then filling in the gap with various bits of broken fire brick. If you look closely, the end of the tang is poking out between two bricks just under the little angled tab on the lid. carcasssplitter09 by James Helm, on Flickr Ready for mischief! carcasssplitter13 by James Helm, on Flickr There is a better look at both carcass splitters, more details, more construction pics, wildly irresponsible swinging about of an 18" long razor-like blade, and general silliness in this video. https://www.youtube.com/watch?v=nasLRvEhrRU&feature=youtu.be
  21. 6 points
    30" blade, Gaddhjalt type with tea-cosy pommel, blade birds-eye pattern L6/1084 steel. Weight 2.6 lbs.
  22. 6 points
    This knife hasn’t been a rousing success, but I thought I’d share it and what I did because there have been quite a few discussions about stainless/carbon steel san-mai lately. Maybe this will help others like me who are new to the process. I had made a few attempts with 304 and 1084, and had gotten to where I could get them to weld more or less reliably. However, I wasn’t seeing the really wild carbon migration lines that make this construction method attractive to me. Following some notes form Karl Anderson (who’s results I consider top notch) I decided to try a 410/1075 mix. In an effort to push things to the limit, I also forged the bevels of the blade down to about 1/16” thick before grinding. I did this because I wanted to keep the transition line low, but I also thought that the thinner I made the stainless skin, the more effect I would see. However, forging the bevels out that far caused a couple of issues that I didn’t think about in advance: 1. This leaves you no room for error when grinding. The blade has to be dead flat before grinding, and you have to be very careful not to grind all the way through the carbon steel layer. As it turned out, there are a couple of places along the edge that have the stainless into the secondary bevel, although, I had black etched 1075 exposed all the way along the edge before sharpening. I was cutting it close 2. I think I ended up with the stainless being so thin that it washed out the transition effects. Right out of etching, I kept getting a lot of black lines that lined up with the position of the fullering dies I used to draw the blade length out. You can still how the transition climbs up towards the spine at every location the fullering dies touched. I’m not sure I would hammer the bevels out this far again. Probably better to start out with a billet close to your desired final width, and grind in most of the primary bevel. My initial billet was 9” long, 1.5” wide, so I was able to stretch this welded billet pretty far without any issues. All 3 layers were 3/16” thick in the beginning. I did most of the drawing out with a press, and I was worried that would lead to the inner layer stretching out more than the outer layers, but that didn’t seem to be the case. Everything seemed pretty even thickness in the end. I TIG welded the billet all the way around the edges before putting it into the forge. No WD40, flux, or any other mystical goo. I just got my forge as hot as I could get it which is only about 2250F and let it soak for a good while before setting the weld. Then I let it soak again for 10 minutes before drawing it out. Anyway, thanks for sharing in the journey, good luck with your own attempts…
  23. 5 points
    Just finished this commission an Irish Skean, the blade is 1075 with a hamon, the fittings are blued textured mild steel and the handle is moose antler. This thing feels like a sword in the hand. going to get pro pics soon as well. MP
  24. 5 points
    Hey guys! So I have the rest of the photos so far (and some video) so I'll fill in the rest. First is from when we were refining the edge material. It's some hearth material Luke brought from several years ago at Scott Roush's place. I forged the puck into a solid bar and folded once, then began accordion folding in 4 sectioned increments. I switched directions after the first accordion and then did two more rounds of folding. We ended up at 244 layers. From my study of original artifacts, and what I have been able to see in photos of polished artifacts this doesn't seem like an unreasonable level of refinement for Viking Age work. I generally fold until the material bends easily at the thin end whilst folding and shows no tearing, which with this material was rather quick. IMG_2200.TRIM.MOV This is a shot from when had just begun to forge the teeth into the edge bar. It is next to the billet which I folded and forged out to become the twists for the body of the blade. They are essentially 7 layers of two different pieces of refined iron bloom. The initial pressing of the iron teeth. IMG_2211.TRIM.MOV And the end! This was before allowing to cool and wire brushing. IMG_2212.TRIM.MOV A shot from when I was in the middle of welding the teeth to the edge bar. Here you also see the twist bars in progress. This is a particularly interesting pattern as most of the work happens with stock removal. The basic shape is forged and the rest is ground in as not to distort the teeth too much. I believe it was done this way historically as well, with the minimal amount of distortion seen on these pieces. It also seems most spears have two layers of pattern welding, with perhaps two twisted bars on each side and an iron core between them. Here you see the twists in good detail as well as the wolf teeth! So far so good. At this point I have normalized twice. Once I was about the thickness of a dime I normalized again and quenched in water. The next part of the process is pretty standard, I ground the blade to 220 and began hand sanding. I only made it to 400 and etched several times, unhappy with the definition I am bringing out in the twists. I will polish again and bring the blade to maybe 1200 and see what I can bring out. The blade is wonderfully clean. There are only a few teeth that did not fill 100% and these are still very clean. The blade is 9 inches long, 1.25 inches wide and .25 inches thick. It has a wicked distal taper. This is very much like I would expect the seax of Charlemagne to feel in hand, almost ethereal. Next to a life sized print out of the Helsinki spear! I'll take more photos like this when I have finished the polish so that the details can really be seen. You can see the characteristic flow of the iron into the depressions in the steel. IMG_2237.MOV Hope you guys enjoy where we've gotten to so far with this collaboration! The plan now is for me to finish the blade and handle and send it to Luke for sheath work
  25. 5 points
    And here's some of the engravings I've done for Roger Bergh and SaraMi Liljeholm. Only done the engraving on the pictures below, the rest is done by the masters mentioned above
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