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jake cleland

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Everything posted by jake cleland

  1. 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.
  2. 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...
  3. Just finished another one of these. Buninga, about 22" of blade, so ko-katana sized. Mild steel tsua with brass overlays and copper pins. The fuchi and kashira were adapted from cheap Chinese casts - they're decent solid brass, and while the quality is not good enough for a real sword, I think it's fine for something like this. The tsuka is wrapped with cotton tsuka ito, potted with shellac: let me know what you think...
  4. Just finished this one up. 5 1/2" cs70 blade, very thin, like 1.4mm at the thickest. bubinga scales and copper pins. let me know what you think...
  5. The scabbard is cold forged round the blade before hardening, and brazed together with phosphor bronze, so there's no flux residue to deal with. Then I finish the blade, and superglue thin leather or felt into the mouth of the scabbard on each side - I only line about the first inch of the scabbard, leaving an air gap around the rest of the blade. I leave the liners a bit long, so I can check the fit without glue, and then trim them after glueing. The wooden throat is pierced very slightly oversized, so it doesn't rub on the blade, but it's precise enough that the tip doesn't touch the lining
  6. Just finished putting this one together. 1095 blade with hamon, fullers and filework. Carved yew handle. Fileworked copper fittings with bog oak throat insert and hand cut Skye Marble pommel setting. Brazed copper scabbard lined with felt and covered in lambskin. Storage box with copper accents, lined with leather and felt, with bog oak inserts. Let me know what you think...
  7. looks like decarb, which wouldn't be surprising after 1 1/2 hours in a heavily oxidizing environment, but if that was the case it shouldn't skate a file on the face of the blade until you've ground off a lot of material. Could be alloy segregation from excessive normalization. if you're not forging, the 1600f normalization probably isn't needed, nor the 1400f one. Cut the soak time down to about 1 minute. Try quenching a piece from 1435f without normalizing to see what you get, to establish a baseline, and refine from there.
  8. but note that the line of the haunches forms a smooth curve from blade to shaft. if you pay attention to the negative space in that image, the relationships might become clearer...
  9. You're getting there, but I think you still have some issues with the haunches and pommel. the haunches should be rounder, and curve in towards the blade, and the transition from shaft to pommel flare should be more defined, and the pommel should have a bit more depth. here's a quick sketch of what i'm talking about: and a dirk i made in this style a few years back:
  10. Just put this one together - another facebook makers challenge that got out of hand: clay hardened 1095 blade - I haven't measured it but it's about 8", and thin, not much over 1/8th", with a false edge on one side. Wrought iron bolster and mild steel guard, with mild steel and nickel silver spacers. the steel has been oil-blued, and the ns is sculpted and polished. Oil-blued steel pommel plate with carved mammoth ivory panels. Macassar ebony handle carved with high relief knotwork, with steel pins. Scabbard is laminated millboard covered in lambskin, wi
  11. You're welcome. I haven't made a boxwood dirk for that reason. I buy wood as 2" turning spindles for dirk handles. Unless I'm shooting for a 100% accurate reproduction of a specific piece, for handles I generally just turn a cylinder first and then scale everything else off that.
  12. I've had a closer look at that dirk since then, and the haunches are not damaged, so I'd say yours are a bit too tall, by about the thickness of the guard plate maybe. i also think your pommel should be wider, and the concavity on the underside should be shallower. For this pattern of carving there are an equal (even) number of high spots top and bottom, usually 4 or six (4 is easier, as you just align with the edge, spine, and the centre of the haunches), offset so a high spot at the top corresponds with a low spot on the bottom. Its worth marking and cutting in the interstices, even if you w
  13. I'm 95% sure that must be welded inlay - if you look at the last pic, there's no repeating pattern to the over/under of the laminated strips . While the ulfbhert inlays were done at the very end of forging to minimise distortion, it would be far easier to do this kind of inlay immediately after welding on the edge, when the billet was flat and at full thickness.
  14. Just finished this small narrow sax. Wrought iron and silver steel for the blade, box wood bolster and bog oak handle, carved with a bind rune for the recipient and a geometric border. Riveted copper draw ring with bronze bail. Tooled leather sheath with copper and bronze fittings. let me know what you think.
  15. Just finishing this one up. 1095, antler and copper. let me know what you think...
  16. 4mm is pretty thin for a dirk (the etymology probably comes from 'durke' meaning stout or thick in Old Scots), so I would go full convex to zero.
  17. 'Bolster' to me implies a degree of mass which the very thin sheet guard plates do not have - they're more like washers than anything. Ferrules fit over a recessed area at the front of the haunches, and can be fairly plain oval shapes - or more commonly slightly apple seed shapes, as the haunches tend to be narrower on the edge side and fatter at the spine - but the nicer ones tend to be tapered from haunches to blade, and kind of folded over the end of the handle a bit so they more fully enclose the blade, and have a slight arc to them as well...
  18. ferrules are common, as is thin plate. Bolsters less so.
  19. Depending on the diameter, you can usually just use the tip portion of a round or half round file.
  20. Feeling pretty burned out on commissions, and wanted to make something fun. I've been thinking about folk art, and whimsy, and the direction i want to take my work. I see so many technically perfect knives with complex damascus and precious materials all over facebook, and they do nothing for me. I Was also thinking about those 19th C. French 'Satanist' daggers with the figurative grim reaper handles, and wanted do do something with a similar theme. But I realised any grim reaper I carve is pretty much going to end up as a version of Terry Pratchett's DEATH, so I went with a Persian style blad
  21. Short answer, yes. That's absolutely no problem.
  22. You only need one tool to start carving and you can make it in half an hour. I use this graver for 90% of my carving: It's a little under 1/8th thick, 1/4" deep, 4" long. the point is a little under 3/8ths long, so about a 35ish degree angle, though there is a tiny bit of relief in the first 1/4" The edge is sharpened slightly steeper - I just touch it up on a hard felt wheel every year or so. the handle on this is a commercial graver handle, but it's really just there to rest against your palm, so any rounded lump of hardwood will do. The tape is just padding to redu
  23. This was commissioned by the manager of a deer estate for processing red deer. The references he gave me were 'Viking Knife' and the Tapio Wirkkala puukko, but the design took a lot of back and forth, as it needed a long, narrow blade as they are now required to go in through the pelvis for large portions of the cleaning. This is what I came up with in the end: 13.5cm blade, a little under 1/8th thick, in clay hardened 1095, with a mustard patina under a baked oil finish. Antique wrought iron bolster and pommel, mild steel pommel
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