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Jim Kelso

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Everything posted by Jim Kelso

  1. As I said to Peter; it's an honor and pleasure to live in your time...
  2. Thanks very much Jake and Mark. Much appreciated...
  3. Thanks very much guys... Yul, I'll sell my soul for a polish... The time just kept stretching out on this one. Finally when I figured I had two days left I thought, "Just don't let me cark it in the next two days". I seem to have gone a few more yet...
  4. Thanks very much for the responses guys. Much appreciated. My goal is to convey an emotional resonance with nature. Stuart, in my experience shibuichi toughness increases as the percentages approach 50/50 from either end. Much tougher than Sterling. I also took my polish to another level on this piece, which I suppose may contribute to what you’re seeing. (more on wip later) All work was cold from the flat billet I received from Phil. Wesley the ridge was created by stock-removal and refined by hand held stones. Again, more to follow in wip. Jesus, I wanted to do the best I could on the shaping, contouring and blending of the various surfaces and mimi, so many thanks. I forgot to mention that the ura (reverse or private) side shows an owl's wing-tip prints in the snow. Was this decipherable?
  5. It’s occurred to me over the last few years that I’m entering the home stretch of my career, and to further the race-track analogy, the finish line is at an as-yet-undetermined place in time and space. My guess is that I have 5-10 good work years left. With this in mind I’ve developed a loosely defined and continually morphing bucket-list of work to complete before I loose control or go over the great divide. I think I’ve produced the best work of my career over the last 7 years or so and still think I’m making progress. With every project I refine technique a bit but mostly I try to delve deeper into the imaginative consciousness, trying to be open to the muse. Since I’m only making a very few projects in a year (like one) I thought I’d start a thread adding to it as time goes on, rather than a new thread with each new piece. Since the early 90s I’ve often used the Japanese alloys in unconventional ways. One of my bucket-list items has been to return to a more conventional use to honor the respect and admiration I have for the kinko tradition. Discovering Japanese work in 1981 was a watershed moment for me both artistically and technically. There was very little available then about how the work was done. I learned a tremendous amount on this piece and I have so much respect for the Japanese metal artists and the range of artistic effects they achieved and the superb technique involved. To be clear, I have never followed a strictly traditional Japanese regimen; I made a choice nearly 20 years ago not to abandon my earlier engraving methods, and to proceed with the hybrid practices that had served me well since discovering Japanese work in 1981. In the end, to me, it is the final result that speaks clearest about whether ones approach is effective, appropriate and pleasing. I have not made a soft-metal tsuba for many years and wanted to return to this form with whatever gains I’ve made over the intervening years. I also wanted to incorporate a snowy theme, as well as the quietude of a moonlit winter evening. I doubt that I’ll produce such an involved tsuba again. I’m very happy to have produced this piece, but the muse keeps whispering along other directions. Materials are; 50%copper/50%silver shibuichi for the body, the shibuichi pine needles are 15%silver/85%copper, pine cones are copper and the snow is pure silver. Phillip Baldwin made the shibuichi alloys for me. dimension is 65mm x 71mm
  6. Edo-Tokyo Museum which covers history and culture of Tokyo in Edo period: https://www.edo-tokyo-museum.or.jp/en/ https://en.wikipedia.org/wiki/Edo-Tokyo_Museum
  7. Another lovely production and WIP sequence Dave....
  8. Michael I did make it in 2011. It's a sandy stream-side. More here: http://www.bladesmithsforum.com/index.php?showtopic=19865&hl= Not looking to hi-jack your thread. Just a thumbs-up on Don's ridge forming.
  9. The "Fogg Method" of maintaining a bit of a wide line up to the last refinement of the shape works well (indispensable, I'd say) for any type of raised ridge-line. As The Prof. suggests, any nick or scratch on the raised line redefines it's eventual height. As in this sculpture:
  10. Sorry I've let this slide. After I posted it I decided I needed to upgrade the books with new software (Lightroom). Apple decided to nix iPhoto which I used previously. Anyway it doesn't seem right to sell the old books. the new ones should be available in August. I'll let y'all know. Jim
  11. Yikes! Yes, please, more close-ups of the blade...
  12. Nasty bit of luck that. Maybe the ABS would give a provisional status for a year, based on the photos...
  13. While I appreciate the logical enquiry into the Golden Ratio and other ways of analyzing sacred geometry, it doesn’t often get mentioned that the same order that is present throughout the physical world is indelibly integrated in our own human design and our very DNA. So, while approaching design in a synthesis mode is possible, it is also possible to draw a design that will conform to this order, without mechanical aids, and refine it by relying on your own ancient, deeply installed design software. I was impressed with Sacred Geometry years ago, but saw it as more of a confirmation of a universal order than a way to somehow improve my design by synthesis. What I have found over the years is that when a design is good, you can rely on your gut to tell you so(actual physical sensation).This is not some intangible New-Ageism; we are hardwired to have it be so. If it looks good-it is good. This ability, like any, must be practiced to become reliable and strong, but can be, I think, developed in anyone with DNA. The Harriss spirals, while pleasing in some regard, for me, lack a kind of innate liveliness.
  14. Dave, another wonderful sequence. The whole package is so integrated and well designed. Well done!
  15. Very cool! The piercing is very effective....
  16. This was about 3 weeks ago: http://jimkelso.com/journal/?p=303
  17. Wow, you're about three weeks behind us...
  18. Thanks Yan, Daniel and Dave. Yan, the books are a hundred bucks, but questions are $25 a pop! Hah-hah....
  19. I've been making these books on my Mac for a few years now. I'm not sure why I haven't made them more widely available. Probably an avoidance of the shipping, bookkeeping, etc. Anyway, I'm starting this thread just to judge interest. Let me know, either by posting here or pm-ing me if you would actually buy one. I'm thinking $100. plus 10 for shipping to USA. Here is a look: http://www.jimkelso.com/kelsobook.html
  20. We've come to expect this level of work from you Peter. Well done... Perfection is an unattainable ideal. Giving a nod to that by leaving purposeful, sensitive tool-marks takes the sting out of it and shows a type of playfulness within the realm of beauty defined by line, form, surface and balance. Not an easy thing to do.
  21. Yep, I was in touch with them directly,as I mentioned. As Justin says, it's always a fine event, regardless of being a sword year or not.
  22. I can't speak to the website, nor am I privy to the inner workings, but this is from Dan and Tim. Not just a rumor.
  23. Sorry to be the bad-news bear(er), but Ashokan Sword has been been put off until 2016. Rats!
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