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jake cleland

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jake cleland last won the day on September 7

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About jake cleland

  • Birthday 04/30/1979

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    Isle of Skye

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  1. I almost always weld a high carbon tang to my multibar pieces, because 1. I have a bucket of vaguely tang shaped high carbon offcuts from when I do stock removal, 2. High carbon welds much more easily to the low carbon core that I've forged into a stub tang than low carbon or iron would. 3. It's generally one of the last forging operations I do, so after the weld is set and dressed, I can normalise the crap out of it before flipping it round and doing the final straightening passes on the blade. 4. A dead soft tang junction is a terrible idea - a blade that will take a 45 degree set from the hilt with a bad cut is a bad blade. The guy in the video mentions Japanese swords, but they are always hardened past the machi and habaki-dai into the nakago proper to prevent this. On the cavalry sword he shows, he concentrates solely on the iron portion of the weld, ignoring the fact that the other side of that weld is high carbon which I'd guess extends well past the tang junction.
  2. cool. Now I'm envisioning a knife handle with a built in abacus...
  3. The cut out is inspired by a Sailor Moon tattoo she has. The suspension ring was meant to be an oroburos to match another of her tattoos,, but i couldn't find a suitable chisel to split the mouth...
  4. Just finished this up as a present for a friend. Blade is 1095 with hamon and coffee etch. Copper habaki and seppas, oil blued mild steel guard, reconstituted malachite and copper spacers, carved maccassar ebony handle with copper lined cut out and acrylic bead. Take down construction assembled with a single copper pin. Sheath is magnolia covered with goat skin and copper chape and suspension ring, with malachite and acrylic inlaid accents: let me know what you think...
  5. Just finished this up. Clay hardened 1095 with a coffee etch, sculpted copper habaki, steel guard, fileworked copper and steel spacers, hand carved bog oak handle, copper pin, hand stitched and tooled leather sheath with bowtie retainer and copper stud: let me know what you think...
  6. Just finished this one. 1095 with a steel guard, copper and bog oak spacers and a carved piece of gnarly burr elm for the handle: let me know what you think...
  7. He's on facebook as Gregory Verizhnikov...
  8. I would make a two pronged wrench to try and tighten the nut, and if that didn't work I'd try driving it with a punch. Also the blo and locktite...
  9. If C60 isn't hardening properly in water I'd look at your temperatures before moving to a more drastic quench. How are you judging quench temp?
  10. started on some steel handled folder prototypes. Figured out that if I don't cut the relief for the stop pin, the handles work as both a holder and a stop while grinding the blades, which makes everything much easier... it's a nice change of pace...
  11. Thanks guys. It's now on its way to its new home, but I took one more shot of the knife that shows the overall shape a bit clearer:
  12. This is what I've been working on for pretty much the last 3 months. It's probably the most difficult piece I've ever made, but I think I'm pretty pleased with how it turned out - it's not perfect, but honestly I think it might be my best work to date. It is based of a ballock dagger in the Smithsonian, though I took some liberties with the design. The blade is about 10 1/2" of 1095, clay hardened . It has quite a complex geometry, with the raised back edge and hollow ground 'flat', and has been given multiple etching cycles in FeCl for a deep French Grey look. The guard is forged and carved from 200 year old wrought iron, deeply etched and oil blued for a glossy black finish, and is framed by sculpted copper spacers (fitting those was no picnic...). The handle is made in three parts from a single red deer stag's antler, carved and pierced to show the twist forged tang within, and finished with shellac. The pommel is again wrought iron with copper accents, and the pommel nut is carbon steel sculpted into a dogwood flower and heat blued. The scabbard is built up from layers of magnolia veneer, lined with felt and covered in waxed lamb skin, with black deerskin trim and a cold forged copper chape and suspension ring for the belt loop, which holds a carved bone wrench for the pommel nut. The scabbard houses a by-knife and spike, both clay hardened, with oil blued mild steel guards and copper spacers, with carved bone handles. Anyway, pics: And here's the original: there's also dozens of in progress pics on my facebook -https://www.facebook.com/jake.cleland.14 - , as I was documenting it for the customer, anyway, let me know what you think...
  13. I have made liner locks with unhardened stainless blade steel for the liners, and have also used work hardened brass and nickel silver. As I see it, there is no real problem using unhardened material, provided that you over bend the lock a fair bit, and design it so the lock cannot be counter bent in use, which may be an issue with a frame lock. The only potential problem I see is that the bearing surface of the lock will tend to wear faster in a softer material, but so long as the angle of the heel of the blade exceeds the arc of the lock, this should never become a problem (I also leave the heel of the blade unhardened or temper it right back so I can do fine adjustment with a file after hardening...).
  14. after 2 1/2 years I'm back working on this one today...
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