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Jim Kelso

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Everything posted by Jim Kelso

  1. You're all set then... You probably know but also keep from direct sun, hot lights and other heat source.
  2. Mammoth is quite nice under the file. Scrapes well and takes a fine polish. Much like denser wood. Not at all like rock. Heat is to be avoided. Try to finish as much as possible with paper so a minimum of buffing is necessary.
  3. OK, so I obviously got greedy here. Prices adjusted in post #1. C is nfs
  4. Cool! For a graphic novel rendition of Beowulf please see: http://www.garethhinds.com/beowulf.php
  5. Herewith a shameless plug for my friend Gareth Hinds' graphic novels, many drawn from classic literature. I think Gareth has matured into one of the very best graphic illustrators around. Two works I think will resonate here are the just released Samurai Rising: The Epic Life of Minamoto Yoshitsune, and his rendition of Beowulf as a graphic novel from several years ago. Samurai Rising is not a graphic novel but has 16 illustrations and 4 maps by Gareth. I would think Beowulf would appeal to anyone following the just announced Arctic Fire theme: http://www.bladesmithsforum.com/index.php?showtopic=32933#entry318606 Here are links to webpages about Gareth's work, with a lot of additional info: http://www.garethhinds.com/beowulf.php http://www.garethhinds.com/samurai-rising.php http://www.garethhinds.com/store.php
  6. Dave, a little deprivation serves to remind us of what we might come to take for grated.... Many thanks to all the mods. Jim
  7. "You can "suscribe" to Photoshop and Lightroom for like 10 bucks a month Its what I do. lol, ya that learning curve can be steep " I recommend Photoshop Elements. It's likely more than you will ever need. Less than $100 and no monthly fees still.
  8. Circumstances dictate that I must trim down my possessions. Sadly this includes some things with a certain emotional attachment. I would prefer to give things like this away, however circumstances again compel me to practicality, so I am regrettably posting these for sale. I have had these Honoki saya blanks since 1988 when I acquired them from Kazuyuki Takayama who I was introduced to by Yoshindo Yoshihara. They’ve been in my dry heated shop these 28 years. They were seemingly dry, sawn blanks when I got them so were perhaps some years old at that time. So what are these worth? I hate thinking about it but I’ve decided that they’re worth some more than would be paid for them if they weren’t from Takayama-san and you could actually find them in the US which seems difficult at best. Please pm me with your interest or questions. $225 $150. each ABC $215 $150. D $200 $125. each EFG + actual shipping cost to wherever you are lengths in inches A = 43.5 B = 43 C = 41.5 D = 37 E = 32.75 F = 31 G = 28
  9. Very satisfying amalgamation Jake...
  10. Thanks Dave and D. D. , many thanks for your complement. Much appreciated. I did want, with this tsuba, to emphasize the omote/ura (public/private) contrast. The omote was very much planned and executed, with a few surprises. The ura on the other hand was impossible to draw to final effect, and developed only as I worked on it, with choices being made very slowly.
  11. http://www.hideandfur.com/inventory/Antlers.html
  12. Thanks very much Jess and Dave. Dave, that's a funny video and I love the artistic progress bit...
  13. Dave you continue to present these superb sequences of work that is so satisfying. Not at all bound by tradition but just close enough to ring with the past.
  14. I always loved the ulu form. The high layer count gives it a frosty look and the broad strip looks like a refrozen crack!
  15. Just a quick update on this piece. I was in Japan for 2 weeks last month, mostly in Kyoto. I took a quick trip to Tokyo to visit Tokyo Geidai (University of Fine Arts) and their fantastic metal department started by Kano Natsuo and Unno Shomin. This was my fifth visit there and thanks to Prof. Kurokawa, who translated, I was able to have a very informative session with Prof. Iino who heads the chokin (engraving inlay, etc) department. He was very kind and helpful and we talked a lot about the intricacies of niiro patina. I also finally found the bronze bust of Kano Natsuo. Not so hard to find but somehow I had missed it previously. As hoped for, the tsuba remains in the collection of the Kiyomizu-Sannenzaka Museum, Kyoto, who have been so kind to me for some years now. I got to handle many wonderful pieces there. http://www.sannenzaka-museum.co.jp/index_e.html If any of you are in Kyoto this museum is not to be missed. Also, here is a link to a gallery of the tsuba photos. http://www.jimkelso.com/albums/moonlighttsuba/album/# And a photo of the Natsuo bust:
  16. Scott, I want to address your question about shibuichi and nashiji in a separate thread on shibuichi basics. My polishing sequence is always evolving and getting tweaked based on trying this and that. Using natural stones such as the Water-Of-Ayr and other natural materials is a pleasure. Practically speaking although I have a good supply, they can be difficult to find and, for example, the W’O Ayr stone is limited to a narrow grit range. My current sequence as used on this tsuba is this: Refining surface contour with Gesswein Moldmaker Plus stone(1/4 x 1/8 x 6”) starting with 220g then, 320, 400, 600 & 800, using a single direction with each grit. Check the contours constantly with oblique side-light. Also, changing direction with each grit allows you to see whether you have eliminated scratches from previous grit. I consider that the above takes you through final shaping with the coarser stones through the pre-polish with the finer. When contours and pre-polish are to 800 move to 1200 paper and then 2000 paper still using directional motion, not circular. The stone finish is fine enough to see any dipsy-doos in the surface, and the finer papers pose no risk of distorting that. Paper until paper loads and the surface begins to shine. Move to 800g s/c powder (Gesswein) and migaki-bake using circular motion to see if any previous uni-directional scratches remain. Progress to human-hair brush and F1200 g. s/c powder. I got the finer s/c powder from Advanced Abrasives http://www.advancedabrasives.com/index.cfm?page=ca-silicon-carbide It just occurred to me that, duh, they would also have the 800g powder but I haven't tried it and have a goodly supply from Gesswein. Unfortunately Gesswein no longer sells their stones singly, only in boxes of 12. There are probably other comparable options but I haven’t found them. It would be great if someone put together a kit with the stones, powders and brushes. I would like to do that but don’t have the time. I could advise and help in getting the brushes from Japan. I don’t know if there’s enough interest..
  17. Many thanks Daniel for your comments... It means a lot from one from the North Country. Jim
  18. Thanks Scott. I'll reply soon. Some real attention suckers in my life momentarily. In the meantime, maybe something helpful here: http://www.bladesmithsforum.com/index.php?showtopic=23306&hl=
  19. Thanks very much Peter... Fellowship is the greatest...
  20. What a great piece Dave. I never heard that term for trees like that. I love how different cultures have single words for things we cobble phrases together for. Great workmanship and your carving is very expressive of the totrured elegance of the Jachelt. Great job! Jim
  21. I’m with you Mark! On this piece, since I knew a lot of the ground would be migaki-ji (polished ground) I wanted to refine my polishing to show the shibuichi to its best effect. About two years ago my friend Jacob Albee(check out his work) took a class at the Revere Academy with Naohiro Yamada from Tokyo. Nao-san descends from a line of metalworkers and he uses a human-hair polishing brush (see photo) which he highly recommended. He was kind to bring one for me to Revere’s this spring in time for me to try it out to hopefully refine my polish. I also found a source for F1200 (about 5 micron) 1500 g (3 micron) silicon/carbide powder which I thought would also contribute. I was extremely happy with the combination. The attached photo shows the contrast in the previous polish (horse-hair brush + 800g s/c powder) and the new (upper left), during early going. The final result shows in the close-up of the finished tsuba. Also worth mentioning is that contrary to what is generally presented, rolled shibuichi can manifest the alluring nashiji or pear-skin texture, as seen in the finished piece close-up. Also apparent in that photo is a micro-orange-peel effect in the lower margin of the highlight, upper left. On this piece I would not have wanted the nashiji to be more apparent than what it is. (edited grit size above-sorry...)
  22. Thanks Scott and Howie. Thanks very much for that Scott. I see tradition as a mutable, evolving thing, and as such, it's pretty hard to parse out what in the present will be considered traditional. I’m happy to let the connoisseurs (in the best sense) of the future sort it out.
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