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jake cleland

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jake cleland last won the day on December 11 2019

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About jake cleland

  • Birthday 04/30/1979

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    http://www.knifemaker.co.uk
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    Isle of Skye

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  1. Well, opinion was split between here and facebook, but I decided to take a bit of the flare out, and I think I'm happier with it now I also riveted the sheath fittings. Now I need to design and lay out the carving, 'cause I realised the initial design I had was not going to work in this wood, having carved a version of it an antler and another in olive...
  2. I'm working on mounting this serpent core broken back seax blade I forged last year. Blade has a silver steel edge bar, then a bar of wrought iron. Core is two bars of low contrast twist with a 15n20 trim, set in high Mn mild, and there's another strap of wrought on top. Handle is burr elm, with a horn and bone bolster: I'm wondering if the flare on the butt end of the handle is too much? What do you think?
  3. A simple edc in 1095 and bog oak with a buffalo horn bolster, copper spacer and brass and copper decorative pins. After sanding the wood I put it on a loose scotchbrite wheel to open up the grain a bit. The sheath is riveted leather and has a retaining strap and a horizontal belt loop on the back... let me know what you think...
  4. With handle shaping, I generally think less is more. Look at your favourite forging hammer or wood chisel - the handle will pretty much be a straight shaft, not covered in lumps and bumps which make you grip it a certain way. Your hand is an infinitely adaptable gripping tool, and a handle should not get in the way of that. As far as your design goes, it looks fine, but I think it lacks a certain elegance which could be improved with a few tweaks. From an aesthetic point of view, every line and transition should be intentional and well defined. I've played with your design in paint a little, and made what I consider to be a few improvements,: 1. I've balanced the curves on the underside of the handle so they more closely mirror each other 2 I've taken out the upsweep before the tip, which to me adds an unnecessary change in the line of the spine 3. I've taken down the 'hump' on the top of the handle for the same reason 4. I've sharpened the guard so there is a clear point of transition from the lines of the blade to those of the handle.
  5. Just finished this one. 3 1/2" clay hardened 1095 blade, carved bog oak handle, 4 piece sterling silver mounts, hand cut granite pommel setting, copper sheath lined with felt and covered in goatskin: let me know what you think...
  6. It's likely that your forge volume is too small for two burners, and you're just blasting unburnt propane out of the door. Try it with just one burner.
  7. I doubt you'll notice much difference in hardness, but if the bog oak isn't stabilised it will be a lot more fragile. I'd be wary of going at it as aggressively as in that video. I'd take the depth down by about half and try and plan it so the initial pass is going with the grain or you might get some bad tear out.
  8. be aware that the oil will expand rapidly when you quench, and with such a narrow tube, it can easily start pouring over the top, which is not a lot of fun when it's on fire...
  9. In Europe at least, all ceramic wool is bio-soluble by law. I suspect the 'exposed fibres = silicosis' thing is received wisdom from before this was an option...
  10. In between commissions, I've been trying to finish up some smaller pieces before Christmas. The first two were made as a one heat point forging demo. 5"ish blades in 1095, mounted in bog oak, copper and bone: Next is a simple wee viking knife in 1095 and carved wild olive wood with a bog oak bolster: And finally a simple edc in 1095, bog oak, copper and carved antler: let me know what you think...
  11. No, no need to heat treat, or even to use steel. Silver, copper, bronze, wood, bone, ivory etc have all been used. This is one of those situations where the only limit is your imagination.
  12. san mai = 3 layers, go mai = 5 layers
  13. The different carving on the front and back of the scabbard is for that purpose, but the two part handle is because a sgian dubh is worn in the sock against the upper calf, and needs to be pretty flat on the back. I make other sgian dubhs with antler on one side and carved ebony on the other that can be worn facing either way, because traditionally antler is for day wear, and ebony is for evening wear...
  14. I cut and flattened the antler and recessed it for the tang, then cut out a 'V' for the top half of the bolster. Then I cut the top half of the bolster, and recessed it for the shoulders of the blade, and super-glued it in place. Then I flattened everything again, and cut a piece of walnut for the back, rough shaped to match the mouth of the top bolster. As the tang and shoulders were entirely seated in the top half of the handle, this just needed flattened, and both halves epoxied together, and then it was all rasped, filed, sanded etc to shape: So it's just a straight seam between the antler and the wood (lighting in this shot isn't great, but it looks pretty neat in person...). The blade was forged from 1/2" cable with some kind of fibre core, so by the time I got it welded, it was very thin and narrow, like 1/16th by 5/8ths, so I folded that up a few times, 3 or 4 layers (it was a couple of years ago, so I don't remember exactly), and forged that into a bar about 1/4" x 1/2" x 6", and forged a couple of blades out of that...
  15. This one is nearly done. 3 1/2" blade of clay hardened 2mm cs70, oak crotch burr handle and buffalo horn bolster: let me know what you think...
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