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jake cleland

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Everything posted by jake cleland

  1. It's going to get mounted on a 34" double fullered double edged broadsword blade, based on a blade in the Cameronian's Museum, owned by one of my ancestors. I have the blade profiled, but haven't started on the fullers, or built the forge to harden it yet.
  2. mix the epoxy on a smooth flat piece of card like a scrap of cereal box so it forms a kind of puddle in the centre of the card. Then just press the tang hole in the handle firmly down into the epoxy at the edge of the puddle, draw it clear of the puddle still in contact with the card, and lift. Repeat until epoxy comes out of the bleed hole (which can be tiny). This method will completely fill the handle with no air pockets.
  3. Did the final bit of hot work (brazing the 'S' bars and rams horns) to the basket I've been working on on and off for months... now for a daunting amount of grinding and filing and sculpting to get it into final shape before making the blade to go with it...
  4. Or you can just use a sharpie. Draw freehand straight onto the steel, or cut out your design and draw round it...
  5. Spent a couple of days making this for a friends kid. It's bubinga, about 3/4" thick, 26" blade including the integral habaki, 36" o/a. Steel tsuba, leather seppas, copper fuchi and kashira, with a couple of simple steel menuki. The fittings slide on from the end of the handle, so I bulked up the handle profile with laminated card before adding the wrap. The wrap is cotton ito, and it was a bit of a nightmare wrapping on a full length sword as opposed to just the tsuka, and I struggled to get it as tight as I would like. With that and wrapping onto bare wood instead of rayskin, which gives the
  6. I ditched my flat platen years ago for just this reason. I do all my grinding on a 10" contact wheel. I find it's faster, more intuitive, and allows you to do things like complex distal tapers far more easily.
  7. I would experiment with etching the blades - after you take them to a crisp 600 grit finish, etch in ferric for 20 minutes or so, and then rub out the oxides with 1200 grit or finer on a soft backing (wash the blades first with a fairly aggressive cleaner to remove the loose oxides or the paper will load instantly). The etching will erase the harsh light scatter from the freshly sanded surface, and the fine sanding will soften the lines slightly while simultaneously highlighting the clean geometry. I think this will give some softness and character while still looking clean and new. For the h
  8. On some 3 jaw chucks you can remove and invert the chuck teeth to grip larger stock...
  9. Some epoxies can be coloured somewhat with a fine permanent marker or spirit based leather dye and a fine brush.
  10. I really like the blade design for a general purpose camp knife. For a dedicated cooking knife, perhaps not so much. To me, a kitchen knife needs an edge profile with a fairly gentle even curve from heel to tip, and enough depth at the heel for knuckle clearance. How those two things are connected, ie the line of the spine, is a matter of personal taste. But any knife will cut up food for a meal, and a camp knife has to do other tasks which a kitchen knife is not suited for, so I'd say your blade is fine. The handle however... knives are tools, and good tool handles are comfortable and versati
  11. Looks like you're off to a good start. It's worth noting that the hamachi and mune-machi are not usually offset on Japanese blades, and fitting the habaki will be easier if they are in line. You should also bear in mind that if you're fitting a wooden tsuka, and wrapping in both same and ito-maki, it takes up quite a lot of space, and you'll probably have to drop the top line of the nakago to fit it all within the profile of your design - you can always just use same panels, but you lose a lot of strength and will probably still need some extra wall thickness at the top of the tsuka to compens
  12. 1/4" is no problem with short pieces where you can set the weld in 1 or 2 heats. It's not really a surface area problem so much as thinner pieces are harder to keep properly aligned. These days I try and set the welds by squeezing with tongs in the forge, which seems to help with slippage and having the unwelded parts open up on you...
  13. The back panel of the sheath has a pivot pin and locating stud:
  14. Parrots a weird creatures, and very hard to get right. Raptors are easy. the hook knife was a challenge - you need to grind them and then forge to shape. I hollow ground the inside, but it still ended up slightly convex after forging on a bick. to do it again I'd probably forge it like a yakut knife with a deep hollow on the inside, and scroll it freehand. I ended up using a drum sander on a foredom to grind the inside and finish the bevels...
  15. Just got these glued up as a Christmas present for a friend. Cs70, stained elm handles and copper ferrules: they'll get wooden scabbards, and I'll probably carve a hawks head on the hook knife scabbard, or else it's gonna look like one of those parrot head umbrella handles...
  16. I would glue the spacer materials together and do a 'gallery' type fit - scribe, file as close as you can, and then chamfer all the edges.
  17. Pretty much, but the CS series tends to be a bit higher in manganese, 0.6-0.7%.
  18. A friend ordered a kitchen knife as a Christmas present for his future father-in-law, so I made him this - clay hardened CS70, bubinga and copper, with a bit of filework: let me know what you think...
  19. All etchants will etch more on hard steel than soft steel, because the hard steel is in a more energetic state than the soft. The final look is dependent on what you do after the etch - polishing out the oxides, buffing, boiling, blueing etc. What are you trying to do?
  20. Still futzing with this one that I've been working on for the past few days as a distraction from the basket hilt that's breaking me (hopefully more on that front soon...). 1095 blade, hammered copper habaki, brass seppas, bog oak fuchi and kashira, stained and lacquered poplar burl tsuka, buffalo horn mekugi, stained elm saya sealed with shellac. Still got to play with the polish a bit and maybe make some menuki. And I still need to buy a new camera, but my car's in the shop, and it'll be another week before I find out how poor I am... let me know what yo
  21. I've been working on hamons for close to 20 years, and get the result I'm hoping for maybe 1 in 10. That looks perfectly fine to me - you're not going to get anything flashier with that steel. There looks to be plenty of activity that could be brought out, so you can use it for polishing an etching practice, but there's no mileage in going for a full art polish on a kitchen knife that's going to get used, in my opinion. If it were me, I'd give it a longish soak in ferric to get some contrast and just let the natural patina develop from there.
  22. That isn't going to be anywhere near as much of a problem on a kitchen knife cross section...
  23. It would be useful to see an unedited pic to see what you have, but there is nothing inherently wrong with this in a hamon - basically the part that doesn't darken wasn't brought up to critical (it is basically a form of utsuri), which shows good temp control. There maybe activities in the actual hamon which could be brought out, but this steel is finnicky and needs a lot of normalization to show much of anything... That said, you would probably have better luck with ferric or even nitol...
  24. 1/4" is pretty standard starting stock thickness for a traditional habaki...
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