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Vinícius Ferreira Arruda

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Vinícius Ferreira Arruda last won the day on November 11 2016

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    São Paulo, Brazil
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    Migration period and viking age blades, mainly, as well as some traditional contemporary bladesmithing around the world.

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  1. This was a very pleasant commission to work on for me. I could practice a little more of inlaying and the results got better than i could anticipate, even if I have much to evolve in this art. The blade was mostly done by stock removal, but the tip and the tang were forged prior to the grinding. It was made using 1070 steel. The hilt is of a variation of Petersen's type L and it's components are made in mild steel and the inlays are nickel silver. The twisted wires are also nickel silver. It was then oil coated and lightly heated to make it look darker, so the contrast with the cooper-alloy would be even more visible. It is also a good way to prevent rust. My signature this time went on the inside of the lower guard, as the blade carries my maker's name. And on the pommel is asymmetrical in decoration: one side carries a similar decoration to the guards and the other a "double Týr" bind rune. The idea of peening it on the pommel cap is also a historical method, but I made it mainly because it would be more secure than peening the upper guard and attaching the pommel cap to it. The handle is pine wood wrapped in cord and then covered with pig skin. The scabbard is also pinewood, as well as it's belt-bridge. It is lined inside with natural wool and covered with linen cloth. The chape is also mild steel and the bridge is held by leather strips. All the decorations were made to fit a late ninth century fashion, although it is a simplification of the Borre style rather than a more elaborate version. The runes on the blade are inspired mainly on inscriptions of later, 10th and 11th century blades commonly made in Latin language such as Ingelri or Gecelin, but also inspired on the famous Tizona of El Cid and the Cortana from the legend of Holger Danske when it comes in the naming process of it. The use of the runes or local language was a choice of the owner, although I'm aware of only a single sword with runic inscriptions from the period (according to Petersen, B1622), but I have no access to what is written on this exemplar. They read: ik er ulfsmoþRin (Ek er UlfsmóðrRinn - I am the Wrath of the Wolf) hioruarþR kirosi mik (Hjörvarðr gerosi mek - Hjörvarðr made me) They are all written in old norse and I used the danish long-twig young futhork to write them. The sword was exposed at one of the biggest blade shows here in Brazil, where it was awarded the prize of Best Sword of the show and is indeed a proud weapon to display, as well as is swift and powerful to wield. As usual, I wrote a short tale for this blade that can be read here: http://vferreiraarruda.blogspot.com.br/2017/08/ulfsmor-wrath-of-wolf.html I hope you like it. And here are the stats of it. Overall length: 94,0cm Blade length: 79,7cm Blade width: 5,4cm Blade thickness at the guard: 0,5cm PoB: 17,2cm Length of the grip: 10,3cm Weight: 1,150kg
  2. Thank you everyone! Peter, it is really an achievement for me to get a compliment from you, you are indeed an inspiration to me and other fellow bladesmiths here in Brazil hehe Steven, I understand your doubts. Actually you can refine the recipe for each specific use. Once, for a big broad sax I made for a friend for example, I put a bit of linseed oil on the recipe so it could endure more impact to the tang without breaking. But to be completely honest, it is not even close to what a good epoxi can hold. And there is also the problem with the weather. Here in Brazil we have some regions where the average temperature on the summer is above 37ºC. If you let the blade under the sunlight for about five minutes it would simply melt down and make a huge mess inside the sheath. And if you adjust the recipe for this somehow, if you move for another place in the same country, the resin would crack in the winter just because of the contraction. It really does the job of holding the blade and as the blade itself is short, you can use it normally, but has some annoying limitations sometimes. My choice for use it on my blades are rather to be more "purist" and artistic than based on the performance. Hope it helps you =)
  3. It took me several months to finish the project, as it wasn't one of my priorities and I had to attend to some commissions in the meantime, but at least it came out really good to me. For the first time I decided to twist a wrought iron bar to see the effects after etching. Some viking age blades were done without the need of mixing two different kinds of steel when twisting the bars and I wanted to take a look on this visual. I must say that I loved the results and I'm really planning to make it on larger blades soon, maybe even a sword. So, this blade was forged on three parts: the spine and the core bars are wrought iron from the Victorian Age England, the edge is layered 5160 and 15N20 steels. The inlays on the spine are 18k gold. The handle, as simple as it could, is a piece of maple burl treated with linseed oil. The tang was glued to the handle using a home made cutler's resin recipe. The sheath is veg-tanned leather, with iron rivets and brass washers, rings and loops for suspension. The motifs are based on finds from the 10th century York and Dublin. Overall: 21,7cm B. length: 11,4cm B. width: 2,2cm at the widest part Thickness: 0,5cm
  4. They look lovely. The woods were fantastic choices!
  5. Thank you, everyone! And Chris: Actually this blade is not so thin compared with other viking sword blades. There are some that are even 3mm thick on it's thickest part and tapers distally to less than that. It all depends on the quality of steel, heat treatment and how the blade is used. If you had a blade this long and this thick (5mm) with a poor carbon steel, it would probably just bend a little, on the point, but only if hit on the flat. It really endures some heavy use. At least on the shape, I'm not talking about the edge maintenance here. A blade like this with a decent steel and a regular heat treatment would endure much much more and such a reproduction with modern high carbon steel would do the job without any issues for a long time. I have the plan to make a reproduction of a 14th century german bastard sword that is considerably longer than this viking sword and it is 4mm thick on the crossguard and tapers to about 2,7mm at 5cm from the point. So it is really not an issue. Hope it helps.
  6. This sword was the most challenging piece I made so far and it really let me with a wish to achieve some more on my next swords. The blade was mainly made by stock removal, except for the tip and about 10cm of the cutting edge, as the owner wanted it to have some forging on it. It is 1070. Guards and pommel are made from a piece of British wrought iron from the Victorian Age and the inlays are brass. They are heavily inspired on the designs from a type S sword from Gjermundbu, Norway, but it is not made to look like the original. As some of you may notice it also resembles some interpretations of the Gjermundbu sword made by Patrick Barta, although I'm really far from his skills with inlays. At least I have the chance to practice more of this amazing technique on an actual piece, rather than on scraps and left overs. The handle is karelian birch burl from Russia, with one of the most outstanding patterns I've ever seen. The wood was ground to shape and then spent a whole week submersed in linseed oil for stabilization and it got this darker orange-ish color. On the scabbard I used pinewood and it is lined inside with natural wool. Outside I covered it with linen and then painted with very dark brown. The chape is mild steel and the belt bridge is maple wood and although it is glued with modern methods to the linen cloth for safety, the leather strips would do the job alone fairly well. I loved the final result and it really made me feel like a talented crafter, even with all the flaws it have. This excitement is the best part of being a blacksmith/bladesmith. As i usually like to do with swords, the is also a short tale I wrote about it that can be seen in my blog. Here is the link for this sword: http://vferreiraarruda.blogspot.com.br/2017/04/type-s-viking-sword.html Overall length: 94,5cm Blade length: 78,5cm Blade width: 5,3cm Blade thickness at the guard: 0,5cm PoB: 18,0cm Length of the grip: 10,0cm Weight: 1,240kg
  7. Wow, I loved it all. The notch is really well defined. Did you just hammer upside or you used the anvil as a guide while hammering from the edge-to-be? Once I made a small sax with this notch but didn't have the balls to forge it and then i ground it. This is awesome!
  8. Hey, everyone! Thank you for the words. I'm really crazy to make another single edged soon. I hope I will be able to put my hands on the next before April. And about the scabbard, as Alan said they were common in linen, but the choice for wool was conjectural from my part. There is a passage in Hilda Davidson's "The Sword in Anglo-Saxon England" that states only that some scabbards were covered with "cloth", but she doesn't specify the kind of cloth used and, taking in consideration that this was a sword made to look humble, but yet impressive, I picked the wool for the job, as it was easier to be found back in the viking age than linen, according to sources about clothing and dresses.
  9. Thank you all for the compliments, they are very important to me. Collin, I also think they are a bit bulky, but as I wanted to stay as close as possible to some specific styles, I decided to make it this way. But after it was complete, in hand, I think that if it was slender it would not look very well. Also, the point of balance is still about 1cm or half an inch from where I initially wanted. As it is a very heavy sword I think this kind of fit the whole. But I understand you point, at a first glance these guards seem too much. Clifford, I really love these single edged swords. I have some plans to make a type G single edged for myself using bloom steel and wrought iron this year. But I'm waiting to have my powerhammer finished for it. Emiliano, thanks for the book recommendation! I didn't read this one yet. About the peening, I annealed the tip of the tang after the blade was done, then made the hole to the same size of the tang, and then ground the edges from the upside of the hole, making it about 1,5mm (1/16") wider on all directions around with about 45º angle in relation to the surface and the hole, ten used a ball peen hammer. And hammered the rest of the surface to make some texture. Wesley, it looks really bold indeed. Sadly my right arm is a bit injured to hold it properly, bu when I wield it I feel like Arnold Schwarzenegger in Conan!
  10. This is a very special sword for me, as it both ends and starts the year. This was the last blade I quenched at 2016 and the first piece I finished in 2017. So it is kinda different. Forn Hrafn, or Old Raven is made to resemble a humble sword from the beginning of the ninth century Norway. This sword was made by stock removal (not forging, guys) from a piece of 1070 steel. It is heavily inspired on C10560 from Kulturhistorisk Museum from Norway. As I didn't have access to more material about this find, I used some of it's measures and invented others. As you can see on the pictures, it is not completely straight. The tang of some original single-edged viking swords have a slightly curve in relation to the blade and after looking at several examples, I think it was made on purpose, so the tip of the blade could be aligned with the tang. This would make them more useful for trusts. Also, the blade itself bent a little bit towards it's edge after the quench. Had it happen with a double-edged blade it would be discarded, but as some originals have this very same curve, I decided to keep on the project. The blade tapers both in profile and distal to about 75-80% of the original width and thickness at 15cm from the tip. The hilt was fire etched to look like forged and the blade was aged using salt water, vinegar and ferric chloride. The scabbard is made of pine wood, covered outside and lined inside with natural wool cloth. The belt bridge is a piece of ancient bog oak, around 6000 years old, from Ukraine and is held in place by some glue and leather cord. The raven decoration is not made in any particular norse artistic style, but rather made to look like some naive work. This fits the whole piece as being product of unskilled or cheap work, as presumably were these type F viking swords. The handle is also pinewood, wrapped with veg-tanned bovine leather. If you like storytelling, there is also a small tale I wrote for the sword that can be read here: http://vferreiraarruda.blogspot.com.br/2017/01/forn-hrafn-single-edged-viking-sword.html Overall length: 93,0cm Blade length: 78,5cm Blade width: 5,5cm Blade thickness at the guard: 0,5cm PoB: 17,5cm Lower guard width: 10,0cm Length of the grip: 9,8cm Weight: 1,390kg
  11. Thank you very much, everyone! About the handle and the work it took to be done, it was about 10 hours of carving and scraping and polishing. But it is really relaxing to do it with a Dremel and earplugs hehe
  12. Sometime ago I started to carve a piece of antler with some Urnes style motifs, but I didn't want it to be a viking age knife, but more of a crossover with a modern kitchen knife. Then, every time I had some rest in the shop, such as when the commissions were being tempered, while the glue dried, or when it was too late to start forging in the middle of a crowded neighborhood, I progressed it a little. The blade was forged from a piece of 1070 steel, the handle is red deer antler with Urnes decoration, as well as the bovine leather sheath. The tang was glued in the handle with cutlers resin. Overall lenght is 25,4cm, exactly 10 inches. It has a 13,4cm cutting edge, or 5 1/4". The blade thickness is 2mm. Hope you enjoy it.
  13. I really loved these bird panels. Stunning work =)
  14. Thank you guys! Joshua, you can call me Vinny, of course (I know my name can sound hard for non-latin languages). And I agree with you about the sheaths and blades, usually most people make the sheaths just to carry the blade and I think it is also a part of the work. But thank you for the comments, buddy! Wesley, is get out really slender and I had to use all of my patience to don't destroy the sheath. each side of it has walls thinner than 2mm thick.
  15. Hi everyone. Usually I like to make historical inspired blades, but this time I made a project with a friend of mine here in Brazil and it came out quite beautiful in my opinion. This knife was made in collaboration with the fellow bladesmith Bruno Malagi. He skillfully forged the blade out of almost 1300 layers of 15N20 and 5160 steels and then I made the handle, the sheath and the ferrule. The wood used is ebony and the ferrule is a piece of 100-200 years old wrought iron from England. The carvings were all made using a rotary tool and carving knives and depicts Urnes style animal and tendril ornamentation. Overall length (withouth the sheath): 41,3cm. Overall length (with the sheath): 44,0cm. Blade length: 26,0cm. Blade width: 4,1cm. Sheath width: 4.5cm. Blade thickness at the ricasso: 0,5cm. Now to the photos!
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