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Emiliano Carrillo

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Emiliano Carrillo last won the day on February 11

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About Emiliano Carrillo

  • Birthday 02/01/1995

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    Bladesmithing, Movie Prop Replicas, Armor, Old Stuff, Cool Historical Finds!

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  1. Hey guys! I played around with my camera and phone the other day and got some shots I quite liked of some recent and semi recent work. Hope you guys like it! IMG_1595.mov -Emiliano
  2. Hey Zeb! Check out this thread if you haven't already, it may have some helpful stuff in it! As far as forging the pattern around the tip I would recommend doing the 45 degree cut and forge, in order to make the pattern flow nicely with the lines of the edge. Cutting a more acute or obtuse triangle from the end will give you different effects as well. EDIT: I actually just realized you changed your mind and will likely be doing a double edged sword instead! and I had just gotten out my reference on some original single edged swords and everything! My advice for pattern flow is the following though: decide what you want to do bar wise first, and then whether you want to deal with a 6 foot or longer edge bar when you do a wrap around weld, or whether you want to use two bars you meet in the middle. Alan said everything that I was going to say above, damn that guy! In all seriousness though, you'll be fine, it's not so much that it is hard as you just have to do the steps in the right order. You clearly have forge welding down and all it entails is a few forge welds in a particular order, weld the core bars first, nice and flat and parallel and then prep the edge bar. I almost always do a full wrap around because I like the look better aesthetically, but it is a pain in the ass, you have to get a very long bar perfectly square all the way through, bend it around your core and then clean everything well enough that you can forge weld back together. I don't clamp or tie anything when I'm doing this operation, much like when the Japanese stuff is concerned I hate having foreign material in there, so I will try to avoid welding or adding wire that can get welded to the blade. I just hold it, pound the billet straight down to set the tip weld and then begin to chase the weld back towards the tang end. I think the best advice I can give is don't be afraid to tear apart your welds if you need to. I've had sword blades where I've developed a problem with the welding when the bars weren't squared, and I bent the offending bar outwards, let it all cool, took a file to the inside of the bar to make it parallel again, and then heated and forge welded again. Works like a charm every time! There is a lot you can salvage, but be prepared to build this sword in your mind before you go to do it in real life. Everything I make I plan ahead in my mind in order to make sure I won't be surprised by a technique or problem I'm not prepared for. The less surprises you make for yourself the better!
  3. I've done some experimenting with my oroshigane in this vein. This one is a failed katana blade that was cut up and re purposed, the tip section was used as practice to better my control over the color and my eye. It has a powerful habuchi with very tight choji/hitatsura hamon reminiscent of ichimonji work, as well as slanted ashi near the tip based on the angle that the blade was quenched into the water. If I remember right this was a very quick interrupted quench, as in a quenched for about a half second, took it out of the water for a split second, and then straight back in for the rest. This allows the hitatsura to form, islands of hardening all over the blade, that have an interesting shape based on the vapor jacket coming off the blade in the water. I have gotten double and triple layered hamon from doing a very quick succession of interrupted quenchings in this steel before as well. I have had limited success doing that particular technique in modern steel. At any rate you're absolutely right that these things just want to take hamon in ultra shallow hardening steels! I have photos of a seax blade I made from bloom and hearth material that took hamon. I can't find the photos but I'll attach a video I did find. And the seax. I've posted it here before but it has been repolished with the techniques I outlined above in this thread for polishing japanese blades. The two videos are out of order and I can't fix it, but at any rate the seax is first and the tanto second. IMG_9129.MOV IMG_9951.MOV
  4. Did you order the material recently from the NJSB? There's a recent batch of 1075 that has high manganese content which promotes through hardening and therefore is not good for hamon. I have had this stuff harden beautifully but take no hamon. What it sounds like is the water quench was fast enough to cool it differentially but the cracks are obviously a no go. I did some more experiments with water quenching a 1075 piece today and had three fold success, though this was the low manganese 1075. I would try to order some new material and make sure it is low in manganese. When water quenching I make sure to very carefully watch and keep mental note of what the colors in the steel are and what I am seeing in the shadow. You can make vibrant hamon from carefully controlling the heat at the edge, with propane as well as coal or charcoal. If you're using clay a lot of the difficulty is taken out. My advice is to know the steel and your temps. While non magnetic isn't something to go by on its own, it can be a useful tool to know you are in the range of 1420F (I believe) and you can adjust slightly hotter from there.
  5. That should help! Search Amazon and eBay, that's where I have had the best luck, never found any locally!
  6. My method for bringing out hamon is to bring it to 2000-2500 and etch lightly in diluted ferric, then under running water you can wet sand with 3000 grit paper or anything that will very gently remove the oxides. I use 3K silicon carbide powder now to do this instead. If you are going to do a lot of hamon I would say definitely get some of the fine powder and use it like finger stones with light oil and a cotton pad for backing. This helps to whiten the hamon and show any other activities in the steel in the case of bloom/pattern weld. IMG_9216.m4v
  7. So as I understand it the reason is indeed the same as kesho polish. A burnished shinoji looks more crisp even if the polishing lines are themselves not sharp. The actual meeting of lines between shinoji and ji is a very important point in the polish and can be rounded out and softened easily. The reasoning I have heard for kesho is that smiths were at that point making rather uninspired swords and they needed a way to spice up the 800 year old blades that had been polished down almost to nothing over the years as well as make the newer swords look stronger and more virile. I imagine burnishing would be the same, a way to gloss up the blade and add more interest visually. As I understand it, burnishing was not done in older periods, and blades themselves were probably not 'art polished' like they are nowadays. A tool for using ends up with damages, and having a very costly polish damaged every time you went into battle would just have the average samurai in the poorhouse trying to maintain their sword properly. I have done a fair bit of burnishing on my own work and also on nihonto, and it does not require much force, instead it is a gentle work. It would not help to harden the surface by any amount I think. The nihonto I have in my collection all have between 58-62 RC for the edges, with the spines being too soft for my chisels to get an accurate reading on them.
  8. Humility is the reason I think I've advanced quickly! I am always a student in any room I'm in, even if it's technically in the capacity of a teacher. There's so much inspiration to see in everyone's work, all you have to is be open to it and let that energy flow into new work! Thanks for the kind words I'm so happy to be able to give some inspiration!
  9. I wish! I started in January of 14! Otherwise I'm sure I would have been there. My only exposure to this world before then had been Jake Pownings website which I landed on by accident once in high school
  10. Thanks Gerhard! Thanks so much Pieter! Yes I certainly agree, they are both stuck in time as it were but I believe the way the Japanese pieces are finished may not have been far off from some of the higher end Medieval pieces! I have done my faux Japanese style polish on some of my Viking Age pattern welded pieces and they look fantastic with that treatment. The tachi was definitely stressful, but it worked well and nothing was damaged! It was a good sign to continue work in this tradition! As for water quenching, I water quench anything made from oroshigane, it just is the only way! Some of the pieces I have made get quite hard, and may possibly harden well in oil, but some of the hataraki (activities) in the hamon just don't look the same if hardened in water, so it is the only way! I am not scared of it, and have not had any cracked blades yet! Thank you for the kind words, they mean quite a lot and I am happy to be able to provide some inspiration! It is all practice after all! The last five years have taught me that only you stand in the way of your own progress! Jesus especially is a big reason why I am down this rabbit hole! Mark Green introduced me to the process of hearth melting almost five years ago now and while I didn't do it right away I knew that some day my path would lead me here! I'm 24 now! I feel like an old man, or at least my body does sometimes! And thank you, I really appreciate that! While I'm certainly not a master yet, it is humbling to progress at the rate I have because it shows me just how much further there is to go! The antique work is fun now! Not as stressful as the first time It is nice to care for something old and give it some new duds, be it habaki or the whole nine yards. As for the quenching is it low manganese 1075? I have had some very odd pieces recently that have reacted in all sorts of weird ways to oil and water quenches. I would try again and undershoot the temp while making sure the spine isn't as hot if possible! the 1075 blade up above is the one I was referring to last time btw Thank you Brian! I was just telling someone the other day about the indecent with the moonshine and the taser spear! That was a fantastic Ashokan, I can't wait for the next sword year, maybe I'll have to make something special for it That was a great one, I met Owen and Jake and Peter for the first time there! That was a whirlwind for sure, but I got great feedback and managed to meet a lot of the people I have wanted to for a long time, yourself included! Thanks Alan, I appreciate it! Thanks James! That one is special to me, gonna get mounted up some day when I am good enough for it! Thanks brother Thank you! I appreciate it! Thank you Doug! I was kind of nervous choosing the name at first, but as I keep working in this style it feels more and more like it fits! Thank you Lars! Thats exactly the term! Thanks Charles! The folding has been the most interesting part for me, I alternate the folding direction every three folds until the very end which is were some of the experimentation happens. Depends on the number of folds! I've done up to 18 folds so far and ended up with this fantastic super fine grain, and also done 11 folds and ended up with a very lazy wide woodgrain pattern, so it's nice to know I can more or less shoot for whatever complexity of pattern I want to achieve! Here's one of the pieces from this evenings polishing session: IMG_9181.MOV
  11. Thanks! Thanks Charles Thanks Owen! I'm glad it all came together like it did! Nice cohesive package! Thanks Pieter That was an inspired bit of lunacy at the end there, but as these things usually go, the last day was when all the craziness came to a head and then it was over! Thanks Joshua! Yes I did! I like to have the leather supported by the blade, and I'm not tooling too deep so I can't scratch the blade. I leave it to dry with the blade outside of the sheath for about two days after the tooling is done to make sure all the moisture is gone! Thanks John! Yeah you remember that place we went right before picking up Luke from the airport? I moved into that shop with my buddy Kamil! You are always welcome brother, the sooner the better This one had a loose plan! The handle is the only thing I really sketched up at the beginning for the client to give the go ahead, everything after was kind of a free form odyssey! I hit some serious creative blocks on the scabbard till I did some more looking historical pieces and was able to chart a course I liked! So I managed to get some pro shots of this piece done before it was time to ship it off! Here they are. Shot by a guy named Charley in New Hampshire! I really love the way he shoots knives and swords and he has taken some photos for Zack Jonas, Peter Johnsson, Dakota Slack and a few others that have a very noticeable style.
  12. Hey everyone! I was looking at a piece I had made a few months ago today and realized I don't think I've ever shared any of my Japanese style work on the forum before. My fascination with swords and smithing started when I was young just like most of us here. I started doing research on our ancient computer and learned about clay heat treating and 'natural hamon' and the proper ways to take care of a sword. I then convinced my parents to let me buy a $200 katana at some nearby martial arts/fantasy weapons sort of store, and cared for that thing for years before I even thought about the possibility of putting hammer to anvil. I began making almost exactly five years ago now and knew right away that the Japanese style work was too advanced for my skill level, and I should leave it for a later time if at all. I had a ww2 blade that I got from a friend that I had polished up and made a habaki for that gave me an idea of what this sort of work could entail. I made the mune/spine fit incorrectly and the habaki is too thick near the front, otherwise this was a good start! Meeting an extremely knowledgeable collector of Nihonto and starting to practice Iaido made me take another look, this time more seriously into the Japanese work. He was extremely generous in letting me bring home pieces from his collection to study every time I went over to see him, and little by little I began to seriously entertain the idea of moving into that style of work. He asked me to make a habaki for a 500 year old tachi he owns, which certainly made the stakes higher. After that project was under my belt I began to think seriously about using an antique blade for Iaido, instead of the aluminum bladed Iaito that I had been using previously. With some help on the saya from our own Matt Venier I made a mounting for a sword from the early 1500's to use in practice. This was the first real attempt at tsukamaki after my cursory practice with shoe string to re tie my old crappy katana when the wrap came apart when I was young. I used old tosogu to create the koshirae, using a rather wide tsuba and shishi dog menuki with grass and butterfly fuchi and kashira. I started getting a little more into the mounting work after that first success and did some collaborations with Matt which were a lot of fun (and less stressful than working on old blades!) Aikuchi style koshirae for an osoraku-zukuri tanto Matt forged. A mounting job I did for my collector friend who wanted a beautiful tanto he has mounted in these excellent mino-goto fittings. IMG_6815.m4v Later I took a more recent (maybe 250 year old) Sukesada that I took a real liking to and gave it the full treatment, with a really beautifully matched set of peony fittings. The tsukamaki work in this photo is still unfinished, it is in place but not adjusted and tightened yet. I played around with some modern steel here and there but didn't really see the point. The stuff I am captivated by was all made from tamahagane, so I knew one day the journey would lead me there. I think I have done two blades I am happy with in modern steel with hamon. This is the first! Some mystery high carbon steel forge welded to some iron that I quenched in water. Next I made a few more habaki for various projects, playing with styles and finish a little, but sticking to copper. IMG_0355.m4v I went and visited Mark Green and we made some oroshigane which became the starting stock for these two knives I sent to a gallery last year or the year before for an exhibition. Both are from the same bar, folded 11 times and quenched in water. IMG_0008.MOV It was around this time I decided to get off my ass and start using the hearth steel/oroshigane I had been making for my Viking work and use it for Japanese style work as well. In the past few months I have moved almost exclusively to using it for Japanese work. I chose the name Ame Mistu 天光, which translates roughly to Heaven's Light, which sounds awfully lofty, but is the closest I could get to Sun and Stars, which is my regular smithing handle. Swordmiths art names were generally not even directly related to their own names, but often taking a kanji from their teacher and adding one they liked. So I decided using the moniker I have been going under and porting over to the Japanese tradition made the most sense! I also did my due diligence and throughly researched, it appears no smith ever signed this particular way before. A yanone made from oroshigane as a test of the form and also to see how small I can do my signature! Here's where things start to get a little more interesting/complicated! I began to make blades from the oroshigane to see how far I could take it and how close I could get to traditional Japanese work. By rough estimation maybe 20% of the blades have been successes. The rest have been lacking in carbon, because of the high levels of phosphorous in the material I was using for the melts. That coupled with the repeated folding and decarb left me with very little usable material. There were several blades like this one, that had excellent hada but very low hamon, that took some diligence to bring out in the polish. IMG_2724.m4v I started experimenting with different ways of folding and refining the material to achieve different hada, mine is on the left, and an antique on the right. Some of the hamon were rather weak, indicative of perhaps .4% carbon or even lower, though still high enough to create a delineation between hard and soft steel. I experimented with making a two piece habaki, which is great because it is all of the work of a one piece habaki, that you then have to cut into and mess with, loads of fun! A few of them came out pretty well, in shape and in terms of the hamon. While I was frustrated when I found the root of the troubles, it was nice to build the practice folding and working the steel. Each blade was folded roughly between 11-18 times to achieve the final hada. I forged a particularly nice piece of steel and while it was cooling and the clay drying, I used some old 1075 from Aldo and water quenched it to see what it could do, and ended up with a beautiful extremely wispy hamon. This is the second modern steel piece I've been happy with to date! I then did another experiment, this time a little longer. I am aiming to one day make katana or even tachi, but that is a long way off! This tanto has a beautiful open hada with an active hamon. I did a slow motion shot of it going into the water. IMG_7798.TRIM.m4v A video as polished IMG_7955.mp4 And a still shot A tiny beautiful kogatana made from steel folded 18 times. The chunk next to it in the video is some of the raw oroshigane it came from. IMG_8679.m4v And the crowning achievement thus far for me is this next blade. While the look of the kogatana is almost indistinguishable from traditionally made blades I have seen, this tanto is my personal favorite. It also astonished me by reaching over 64 RC during hardening. The hada is a tight mokume mixed with itame with a powerful habuchi and wonderfully wispy hamon. Right at the kaeri there are sprays of nie, which are crystals of martensite you can see scattered throughout the hamon. IMG_5541.m4v IMG_8468.m4v Anyway! Hope you guys like what I've been up to for the last while! -Emiliano
  13. Looks like I forgot the photo... This is really high carbon oroshigane that made great hamon on a piece, I ended up with somewhere around 1% carbon I believe, but I haven't checked properly yet, that is based on the hardness as quenched. As far as contrast goes I've done a few pieces with refined steel and then higher P iron that was from my earlier attempts at hearth refining. I find that if the source of the iron is different the two pucks will look sufficiently different with an etch. I have also twisted bars that are the same material and seen contrast. I'll attach some of those here as well. This first one was low refined steel and iron folded together, the sources were similar iron, the only real difference was the iron was refined more and is the silvery lines you see. This one was all iron, but it was layered up from pieces I had refined separately and drawn and twisted, hence the faint pattern but the areas where you can see it are bright. This one is very subtle, this was just iron I had folded then twisted, for a very subdued pattern. And this one is a lot more recent, but was an experiment with iron that had three bands in it, that I folded into three pieces, to end up with basically seven layers for the twists. This one is certainly a little more out there in terms of the twists we are used to seeing in modern steel.
  14. Hey I just saw this, sorry for the late reply! I've found that tuyere angle is less important as long as the blast isn't directly on the puck, but when you have more material, the air blast will have to be higher to account for it! I usually do 2 lbs or 2.5 because I've found that is what I get the most consistency with, I very rarely end up with larger runs that are all homogenous as far as carbon content goes. If I can make a few observations from what I see right here that might help make your results better, I would suggest chopping the charcoal smaller, you want pieces around 1-1.5 inch in size for even heat, and I would make the charge with the iron wire as close to 2 lbs as possible. Once the fire is really going and you can tell it is at beyond a welding heat just below the tuyere, you can begin the charging, but for such small stuff like the wire you will probably want about 3 minutes between each run, also I like how you're binding the wire together like that, that is a very smart move and likely why the puck came out as together as it did! What are the sparks of that puck like? Is there any really high carbon in there? From what I see it looks like the stuff is fairly low to medium carbon. I'll attach a photo of a piece I made recently that broke off the larger puck, it's nearly cast iron. As far as phosphorous goes, in my experiments I have noticed that phosphorous does not really melt out of steel in this process. I have found it inhibits carbon uptake and increases decarb, leaving you with nearly iron after just a few folds. I have been making mostly Japanese style pieces with this steel so I am folding a minimum of 11 times and as much as 18 recently, so if the materials isn't top notch then I end up with very low carbon at the end. If you buy nails from the Old Globe elevator for instance, or use high p iron to begin with, you can remelt and add a small amount of carbon, but in my experience it really wasn't worth the effort to make hearth steel from phosphoric iron. I hope that helps some! If there's anything I didn't explain well or doesn't make sense I'll do my best to help!
  15. When you said you were making ten I thought 'damn he's gone mad!' You and Sam pulled off some intense work in creating not just one multi bar pattern welded, bronze cast handle component, tooled leather and rune carved seax, but TEN! I'm seriously in awe, hats off to both of you and I'm again seriously impressed by the work you've done. Taking new and old forms and putting them together the way you guys did is pretty hard to do in a cohesive way, and again you prevailed there! Alan is generally the one who does this but I personally think theres smoke in the air, do I hear a second?
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