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jake cleland

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Everything posted by jake cleland

  1. 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.
  2. 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.
  3. 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...
  4. 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...
  5. 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...
  6. 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.
  7. san mai = 3 layers, go mai = 5 layers
  8. 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...
  9. 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...
  10. 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...
  11. Just finished this up as an order. 3 1/2" cable blade, red deer coronet handle with carved walnut bolster and obverse, carved walnut scabbard: let me know what you think...
  12. 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.
  13. cool. Now I'm envisioning a knife handle with a built in abacus...
  14. 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...
  15. 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...
  16. 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...
  17. 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...
  18. He's on facebook as Gregory Verizhnikov...
  19. 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...
  20. 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?
  21. 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...
  22. 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:
  23. 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...
  24. 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...).
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