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jake cleland

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Everything posted by jake cleland

  1. I'm experimenting with using gallery wire for ferrules. Seems to be working so far...
  2. It looks good, but it would be better if you could pull out a bit more edge towards the heel, particularly a bit of belly just in front of the tongs in the last pic. As Joel says, you want a bit of taper, and ideally a bit of a curve to the whole edge - a straight edge will start to become a recurve after a few sharpenings, which will greatly reduce the utility of the blade...
  3. It's not great. It's a bit soft, but also abrasive. For this kind of thing it's fine, but once you get into detailed work it gets muddy fast. It's best to stick to box and ebony, maples/sycamore, and walnut. I've also heard good things about fruit woods and lime/bass/linden, but have never tried them
  4. Glued this together last night. This is a fairly faithful interpretation of what an authentic early 18th century sgian dubh might have looked like, though it's not a direct copy, more an amalgam of 3 originals. The steel is 1075+Cr, 3mm thick and 3 1/2" long, which I normalised 3x at descending heats and cycled a few times just around critical to drop the hardenability. The handle is elm, with simple basketweave carving, stained and given a single coat of finishing oil. The sheath is less authentic, as it will be used for hunting, so I added a belt loop and reinforced it with rivets. The secon
  5. It's worth noting that there's no need to use Parks 50 with any of the steels you've mentioned, and all of them will probably benefit from a slower quench like canola. Parks is more useful for low alloy steels like 1095/1075/W1/W2/White Paper Steel, and lower hardenability steels like 1040-1050...
  6. I really don't like it for this kind of work. It's hard and tough and fibrous, and doesn't take detail well...but I really like the weight and look and feel of it. It's probably fine for more abstract/sculptural carving.
  7. And a Gralloching Dirk. 1075 blade with filework and shallow scraped fullers. Hand carved bog oak handle. Copper ferrule. hand tooled and stitched leather scabbard. let me know what you think...
  8. This week I'm finishing up some blades to offer to subscribers to my mailing list. First up is this Georgian style Bubinga handled Dirk. 1075 blade copper mounts, hand carved bubinga handle. By-knife housed in the scabbard. let me know what you think...
  9. Started this one last year sometime and spent the past couple of days making a sheath finishing up the details. Blade is about 7" light and fast clay hardened 1095. Blackened steel sculpted guard and pommel nut with sculpted brass washers and hammer textured ferrule. Turned bubinga handle. Scabbard is laminated millboard covered in pigskin with a frogged belt loop and copper chape and locket: let me know what you think...
  10. another couple I'm finishing up after starting them years ago. 1095 sycamore and copper: let me know what you think...
  11. just finishing these up. 1075, mild steel copper and bog oak: let me know what you think...
  12. It would be easy enough to make an invisible repair on the horn afterwards - just cut a slightly tapered peg from a scrap of horn and drive it into the punch hole with a bit of black epoxy, the cut off the excess. Only other thing i can think of is to use a tube or dowel with a hole the same diameter as the drill and epoxy it over the broken end and use it to unwind the bit, but honestly this is when I'd go for a design change - butt cap, or simply a contrasting pin.
  13. drill in from the other end and punch it out with a bit of rod.
  14. Got the knotwork hamon polished last night and took it out of the coffee etch this morning;
  15. Basically either 1. you're not getting it hot enough (non magnetic is around 1412f, you need around 1460f to get those steels to harden in oil), 2. you're not cooling it fast enough (with 1095 you have around a second to get it out of the fire, into the quench, and cooled to around 900f) or 3. you've mixed up your steel with something unhardenable I'd start by heating a piece a couple of hundred degrees hotter than usual and quenching in water - if that doesn't get it hard, nothing will. Then dial back the heat from there...
  16. long day. Ground, hardened and tempered a couple of blades, and finish ground the one I'm thinking of as an adventurers knife - it's a somewhat fantastical take on a sgian achlais/gralloching knife. On that one I laid out the clay for the hamon in a knotwork pattern, which is something I tried a few times about 20 years ago, but couldn't really get to work. This time was pretty successful, i think. We'll see how it comes out in the polish...
  17. when you fix my car for less than it would cost me in parts, we'll talk...
  18. i think around 1 1/4", maybe 1/32" thick. The main challenge is getting the petals peened tightly together so they don't loosen up as you form the rose. The last time I used this technique I turned a mild steel pedestal with a blind threaded hole and a tenon to rivet the petals on to, and flowed in some phosphor bronze braze after forming, so I could use the whole assembly as a pommel nut.
  19. Your ashi look fine - that looks like just a temperature issue to me. It occurs to me that if you're soaking for 8mins in an electric furnace, you might want to substitute anti-scale for the edge wash, or decarb could become an issue, though the charcoal in your clay may be enough...
  20. Made this as a present for my mechanic, because he's a genius... cszo, buffalo horn and bubinga: let me know what you think.
  21. Yeah, that was just fabricated from sheet. As a pommel there's a bit of a trade off between ease of forming and durability - that fine silver one would crumple under the weight of a knife if you dropped it...
  22. The problem with Parks 50 is not so much loss of activity as loss of sori. On that sugata, uchi -sori would be unusual, but not outlandish, and it looks like you still have plenty of width at the kissaki compared to the machi, so any negative sori could probably be ground back to mu-sori. It's a judgement call - 1.5mm is not insanely thin for an interrupted brine quench finished in oil, but it's always a risk. Somewhere on here Jesus Hernandez had a post about quenching a thin blade into hot parks to produce positive sori, but I'm not sure how repeatable that was...
  23. While brine is a faster quench than straight water, it is actually less prone to cracking as the transition between the vapour and nucleate boiling phases of the quench is less violent. Depending on your edge thickness I'd go with a 2 or 3 second quench in brine, or at least water with a lot of dish soap (also destabilizes the vapour phase and acts as a surfactant), finished in slow oil, and immediate temper.
  24. Yeah, you definitely want to take the top of the shaft down a bit until it's smaller than the bottom, and you want a sharp transition between the shaft and pommel sections.
  25. Yeah - on my dirk in the post above, the American customer demanded a longer handle, despite my best efforts. Think it ended up being about 5". The haunches and where they meet the shaft looks great, and the taper and curve of the pommel are also good. i usually leave the pommel long, and cut it away at the end. You want the same kind of crisply delineated transition from the pommel to the shaft as you have at the haunches, and you want to make sure that the top of the shaft is no wider than it is at the bottom - I generally go about 1/8th narrower...
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