Jump to content

Emiliano Carrillo

  • Content count

  • Joined

  • Last visited

  • Days Won


Emiliano Carrillo last won the day on November 26

Emiliano Carrillo had the most liked content!

Community Reputation

127 Excellent

1 Follower

About Emiliano Carrillo

  • Birthday 02/01/1995

Contact Methods

  • Website URL

Profile Information

  • Gender
  • Location
  • Interests
    Bladesmithing, Movie Prop Replicas, Armor, Old Stuff, Cool Historical Finds!

Recent Profile Visitors

1,485 profile views
  1. Emiliano Carrillo

    Shear Steel; The Experiment Begins

    Sometimes it can be hard to translate what a rusted museum piece and a 'new' seax have in common. I recommend checking out George Ezell, Jeff Helmes, Owen Bush, and Jeroens presentation which was linked above! They all make work that is very authentic, and will give you many ideas about what your end goal may look like if you want to make a seax. I'm working on a large war knife type seax similar to what you described in your post a while back as well. I base everything I make on study of the old stuff! There's a plethora of modern makers that can inlay and pattern weld like no ones business, but there seems to be a lack of people who really want to research the old blades before making what they call a seax. You're making your own steel for this experiment, and I think you'll regret it if you don't do more research to come up with something that you really like first! Then again, you can make a modern fantasy knife just as easily, it depends on what you want to make! But I would urge you to research heavily if you want to make a real seax!
  2. Emiliano Carrillo

    Faux sheer steel

    I'm not really following what you mean in your last few posts , but either way you should check out Kevin Cashens recent video on shear steel. The man is a real asset to the community and outlines the beginning of an experiment with shear steel in the video. He uses 1850 as a temp for carburizing. Remember that carbon content and melting point are inverse, and cast iron will melt readily at low heats. By that token iron will melt only at much higher heats because of the lack of carbon. As you start adding carbon your material will melt. The last time I tried to carburize in a very hot forge fire I ended up only with a tip and tang of a beautiful tanto I wanted to carburize, but instead I turned it into tiny blobs of cast iron.
  3. Emiliano Carrillo

    Refining Bloomery Iron into Hearth Steel with Hurstwic

    Cheers Charles! I'm glad you enjoyed Thanks Alan! Yes! My first experiments have been with wrought iron! It takes a hotter fire to melt properly, but with a bit of careful modulation of the fire you can melt and carburize anything, or decor for that matter! I've taken pure iron and made it into very high carbon steel and taken cast iron and turned it into really nice steel as well! This little furnace is the workhorse of furnaces in my opinion! We did our best attempt at it at that point everyone had enjoyed a lot of libations and even some of the moonshine you may or may not have brought! But that sucker turned into a four foot bar of hearth steel without any cracks so I think it was a success!
  4. Emiliano Carrillo

    Faux sheer steel

    You can make oroghigane from pretty much anything as long as the alloying elements are appropriate for what you hope to get out of it. There's a video in the multimedia section where I do a demo on this. One of the last pieces I made using this process hit over 64 rc, based on the hardest chisel in a set staking over the surface like glass. I've never sanded steel before that the paper glossed over without biting. Also I was the guy who made a sword from nails! It's a thread called A Sword Fit for a King if you're interested. Naegling, a sword whose name literally means 'from nails' I've seen people make shear steel by leaving wrought at the bottom of a charcoal fire for a long time while it's thin. But again, the alloying elements make a big difference. In my experience material with a high amount of phosphorous especially is very hard to carburize effectively and has a harder time hardening than low phosphorous material. So my advice would be build a fire in charcoal and burn it slowly, high heat and high speed are not your friend unless you want to melt your iron. Low temp and long soak are key. I would put the thin iron in a can and add some charcoal, then let soak in a low (1500 ish) fire for an hour, open the can and see what you have, compare to an unaltered piece of the same material, and use the sparks to determine how far you still have to go. Steel making is a finicky pursuit but is certainly worth the trouble and heartache. I like the grain you got by mixing the 1095 and wrought by the way! It looks very authentic though more contrast than you might expect from folded and refined shear steel. The real visual trick of that material is the way the homogenous nature of it plays with the weld lines. In an ideal world the material looks uniform over its entire length and the lines are just an artifact of the refining process. It is a very subtle contrast that you can begin to approximate using modern materials, but they have to be folded and manipulated in what you may see as odd ways coming from a modern steel background. The folding method and types or type of steel makes a big difference. I use 1075 folded on itself, as well as other 'lower' carbon 10xx steels in order to replicate the look of bloom. Here is a blade made of oroshigane highlighting my points, very homogenous low contrast material, but the grain is made up of the fold lines and small amounts of silica left in the material. This is a very important look for the Japanese and Viking Age pieces, but you can approximate the grain through proper manipulation of modern material. If you want to achieve a similar look with modern steel and not 'waste' the wrought iron then I suggest you use 1075 and fold it on itself ~12 times or the equivalent of that many layers and make a piece out of it. You may be happily surprised with the result!
  5. Hey everyone! Recently I've had the opportunity to do some work with Hurswtic near Worcester MA. They had an interest in iron making to explore Viking Age arms in a slightly more in depth way, and as soon as I found out I was very keen to be a part of it. We did a smelt recently that made 16lbs of iron which I cut and forged into small biscuits that we were then able to remelt. I have learned a huge amount from friends both on and off this forum who have stoked my interest in learning and experimenting with this process. Without that I would be more lost than I am now! Here is a link to some of the write up on Viking Age iron done by Hurstwic: http://www.hurstwic.org/history/articles/manufacturing/text/bog_iron.htm And the video that Bill shot and edited together of a presentation I did with them to teach how to create hearth steel from iron. Hope you guys enjoy!
  6. Emiliano Carrillo

    Naginata Naoshi

    I have one in my collection! Let me take some photos and I'll post them here for you. They may be of some help or they may not be what you're after, but either way maybe it'll be good inspiration!
  7. Emiliano Carrillo

    Blade West Pictures (Pic heavy)

    Some familiar faces there, glad you got to hang out! If I had known you'd be there I would have felt worse about not making it out! I've had the good fortune of running into Petrs work a few times 'in the wild' it leaves you speechless doesn't it?
  8. Emiliano Carrillo

    Moonlight Seax

    Thanks Bruno! Happy to do it! Glad you like it Thank you! Thanks so much Joshua! I actually secured the fine silver spacer onto the bog oak grip with escutcheon pins, the holes in the peen block are meant to allow the block to sit properly in place despite the heads of the escutcheon pins holding the silver on beneath! Thanks Alan, and thank you for the pin! Thank you Clifford! Thanks Luke! I actually inserted the bezels and then went in with a sharp punch and peened the silver and wrought iron together at the bottom. After that I laid the rubies in there and burnished them closed like usual! Imagine it like staking a guard to tighten up the fit. Thanks! It is really a dream to work with, it polishes well and takes beautiful texture, can't beat that! I am very happy with how the silver and moose antler accent it!
  9. Emiliano Carrillo

    Moonlight Seax

    Hey everyone! I finished this piece a few days ago, so I took some photos and thought I would share! This began as a small billet for a demo at NESM for their annual hammer in, and upon finishing the blade a client signed onto the project, so I designed the hilt and we went from there! I still have to make the sheath, and when it's done I'll update this thread. The blade is seven bars of pattern weld, wrought iron on the spine, four twisted bars, more wrought iron, and then an edge of ~400 layers. The handle is moose antler, bog oak, silver, wrought iron, and rubies. I guess I'll do the usual and post a few finished photos and then a WIP! WIP time! So this piece started off as a billet about 8 inches long. I twisted everything extremely tight and laid up the wrought iron and edge bar. I tacked the billet on one end and brought it to Maine with me. I was invited to demonstrate on both days, and first gave a lecture on the historical seax and then did a practical demo the next day, forging a long seax. I then brought the blade to Zack Jonas' workshop a while after it was finished and began to work out what the design should be. Drawing from a few different artifacts I designed something that intrigued me. I used a few drill bits and a set of needle rasps to get the bolster fit properly. Here you can see the fit bolster next to the sawn bog oak and the drawing I made for the client. I used the needle rasps to file and clean up the slot for the tang to seat in the wood properly which is a new trick, I promptly went and bought my own set after! That's as far as I got at Zack's, and upon returning home I began to shape the handle. I always do my rough shaping on the belt grinder to establish the lines I am after and then use files or sandpaper to refine the shape. In this case I am going for a slight hourglass shape and need to do some careful firework to establish my lines. After about an hour the work is done and I can polish to about 400 grit in preparation for the rest of the detailing. At this point I figured I would set the half moon shape on the bolster as per my design. I did this freehand on the grinder and then polished with some paper on a flat surface. Here you can see there is a slight inletting in the edge side of the bolster to allow the blade to sit better. I used a jewelers saw to begin the cuts for the silver wire and then a series of files and rasps to make the recess for the wire. After some epoxy and a few wracked nerves the silver is in place. I couldn't remember what size bezel wire I had used in the past on the amber seax, but I did some experimenting and figured it out. Here's the piece next to the scaled up drawing I made to keep with me as I was working. I think I'll start doing this more in the future. I cut out the piece of fine silver and annealed it, then bent it to shape on the back end of the bog oak grip, and because it was so soft it readily accepted its new shape. I took some nice wrought iron I had and cut a small coupon off and drilled and filed a hole to fit it to the tang. My original thought was to make the pommel just a cap and not be held on by the tang, but Peter convinced me I should weld an extension to the tang and peen the pommel on. Here I am using sharpie to get a vague idea of where I should grind to. I never really do this sort of work with a caliper and exact measurements, instead using my eye to get things close. I may change this some day and do more exact work, but for the style of work I do I feel that this gives my work a more 'organic' nature. I roughed in the shape on the grinder and then drilled my holes. I probably would change the order of operations next time. Once the pommel was roughly fit I began to tune the shape with files. Eventually I ended up with this. I began to peen the bezels in place from the inside to hold them properly. I did all of the setting work before attaching to the handle so I could burnish all the way around easily. Once the rubies were set I peened the whole thing together after administering some epoxy. Here you can see the peen isn't cleaned up yet. After some careful belt grinding and 2000 grit paper to clean the peen up, I went out back behind the shop to take some photos! I hope that's helpful or at least informative, thanks for looking guys!
  10. Emiliano Carrillo

    Wire Wrapped Broadseax

    Thanks Joshua! Sure did! I based the way I've done some of these on Jeff's seax! I tried the inlet wrap once and wasn't as big of a fan because I like the raised wire's feedback! I'll have to try it that way again though! And thanks Alan Thank you! The dremel is a seriously underrated tool sometimes! I am happy with how this one turned out but am looking forward to doing more complicated shapes and such in the future! Thank you! It wasn't as bad as I thought it would be Thanks! I used the drawing dies on my press to lengthen the billet and then forged it flat with the flat dies, then began doing the regular hand forging of the shape and bevels. I think using the drawing dies was why that happened! I've been a slave to the moon before! For my thesis work I created steel by the light of the full moon for a year. It was a very powerful process and the ritual gave it a lot of life, but it will be a while before I am back under the moons schedule I think! Thanks Sam You and James are really killing it with the wedding seaxes by the way! I actually didn't, I've seen some people remove pith and then stabilize with resin or epoxy but this stuff was so solid I didn't have to! I try to get antler that is fresh so that it hasn't had time to decompose and pick the parts that are most solid. This bolster for instance has virtually no pith! Thanks so much Wes As always kind words mean a lot coming from you! Don't think I've forgotten about the steel I owe you either, that is certainly coming! Also I think magic tooth steel wards off dentists for three years? Or maybe you just use it to ward them off? I can't remember...
  11. Emiliano Carrillo

    Wire Wrapped Broadseax

    Hey everyone! I have recently finished this piece for a client and thought I would share some photos! I will post some finished shots of the piece and then a WIP like usual. This piece is made from wrought iron and 1084 laminate with a simple carved moose antler bolster and an ash handle with silver wire wrapped around it. The blade length is a hair over 18 inches with an overall of 28 inches. It weighs 715g and has a blade about 2 inches wide at the base! I was very deliberate in how I decided to shape and taper the handle in order to make a secure gripping surface and have it be comfortable to hold, while continuing the lines of the blade. I believe these weapons are very subtle and well designed and since their shapes are harmonious I think the handles should be as well! I try my best to make handle shapes that are simple but flow with grace. The handle is quite thin in order to allow your hand to comfortably fit around so you can effectively wield the seax. And for the WIP! I forged down some wrought from NESM and took a piece of Aldo's 1084 and wire brushed the sides to prep for forge welding. Assembled so that the 1084 won't get pinched and lost inside the laminate. The client had a really wonderful request, he wanted his spirit imbued into the blade, so he sent me a wisdom tooth that I burned into the billet as I began the forge welding. Here's to some magic! Into the fire! IMG_2260.m4v During the forging! Working my way down the blade. The surface up top is finish forged to about 1/16. Done! with the fun part I promise the hot spot wasn't as bad as it looks in the video! IMG_2269.TRIM.m4v And finish ground! I left the blade a little thicker and then convexed the edge pretty heavily, which you can see near the shoulder. And polished/etched! Very interesting banding in the wrought, I love this stuff! I had a small piece cut off the end, which I forged into a smaller blade! I am happy with the height of the lamination on these two blades. Forging close is worth it! Back to the big blade ontop of the antler I cut into to start the bolster! Here's the piece of ash! Too small in every orientation except diagonal to the blade. Roughed bolster with my extra precise sharpie marks! Drilled out and ready for jewelers saw and files. Almost fit! Need to recess the shoulders still. A sneak peak at the fit and lines. Penciled in! Working on the carving. I use an inverted cone burr like the ones Petr uses, and took some new tips from the Arctic Fire videos that were posted up recently! I used some steel wool after this on the antler to round and soften the lines from the carving. I use #0000 steel wool for it. The handle was sanded to 400 first after 120 off the belt to shape it. And gluing! I used JBweld two part 5 minute epoxy for this, really strong and really fast! I do my glue ups pretty quickly so if you want slow set time this stuff is not for you, but I really dig it! I ended up watering the wood and then burnishing with 2000 grit after this. Getting ready for wire! I discussed with George Ezell a while ago and I ordered 22 gauge fine silver wire for this based on advice from him! I love how fine it looks and will certainly order more soon! I used some pencil to quickly delineate how much of the handle I wanted to be silver, and then put a dot and then a hole in the middle of that area. I mix up a small amount of the epoxy and let the wire set. Once it is strong I begin the proper wrap. I usually mix epoxy and then slather the handle where I want it to be silver covered. I make sure I have some acetone around so I can clean up as I work. I have tongue depressors I use to make the wrap more tight. I have the other end of the wire clamped in a vice. This was about 20 feet of wire, and I wrapped the blade so I could roll the seax in my hands like rolling a scroll. I usually wipe away the last bit of the epoxy that would hold the last two wraps of wire in place. I then 'finish' the wrap so I can get the length right, drill the final hole, and then mix new epoxy. I go ahead and finish the length of wrap I want and cut the wire at about 1/4 inch over length, then bend the wire 90 degrees in the right spot and slather that bad boy in epoxy. Once its in the wood and cleaned properly I take one of the tongue depressors and break it in two. I put one half over where the two wire terminals are and the other half of the tongue depressor on the other side of the wrap where there is no uncured epoxy and then use an adjustable clamp to clamp them down. This allows for the two ends to be epoxied tightly in place without getting epoxy all over your fingers or squishing the wire with direct contact to the clamp. I neglected to take a photo of this set up and if it isn't clear by my rambling and someone wants to see what I mean just let me know and I'll photograph it! A better sense of the scale of the piece next to my hand. This thing is certainly usable in a two handed configuration and comes alive. Some photos from my phone upon completion! Wanted to show some closeups of the silver wrap and how it all came together. One of my favorite details on this build is the carving on the face of the bolster! Anyway, hope you guys like it!
  12. Emiliano Carrillo

    Flame Edge Serpent Seaxes

    You and Sam did some heroic work on these so far! Very cool I'm happy to see some of the WIP! Looking great you guys
  13. Emiliano Carrillo

    How to make a serpent pattern seax

    The originals were a forged welded overlay/inlay. It is super wasteful to remove that much material for a pattern like James mentioned, but traditional wolfs tooth pattern was also done almost exclusively by stock removal after the initial welding is done. So wasteful patterns were in use back then, I just think it is doubtful as a way to make it happen. Have you seen Jeff Pringle's twist method? I can't find the post, but take a bar and twist it 90 degrees back and forth in short sections. When forged on the bias afterwards this will give you a serpent pattern. Without the need for excessive removal of material! I have seen several blades done this way. Either way you decide to do it, have fun and show us what you do! Inlay is a lot of fun, and overlay more so. I haven't tried the stock removal method before but I can imagine it would also be fun!
  14. Emiliano Carrillo

    Tempering vs. heat treating vs. normalizing etc...

    I would do more reading and approach the practical aspects with an open mind. When I stared I KNEW that you had to forge, normalize, rough grind nice and straight, and then normalize and quench. Nowadays I forge, normalize, quench, and then begin to rough grind. Half way through or after the grind is finished I will temper. This process has worked well without any problems at all, and I forge as close to shape as possible so I can grind less. Jesus Hernandez does a demo where he hardens a sharpened and polished blade, and after the quench, while the knife is still steaming he cuts a piece of paper cleanly in half with it. Good habits and correct results are what you should be after, but be aware that procedure can change and most likely will change for you over the course of your career as a maker. So learn and read enough to know what you can take with a grain of salt and experiment always because that is how you will grow and improve!
  15. Emiliano Carrillo

    Rare artifact of the kingdom of Norssex, via Gallifrey

    Alan this is really a stellar work! One of these days I will have to visit so you can show me how you do this! I'm a big fan! Man the lines are just perfect but I think maybe my favorite touch is the pieces on the sheath! they just hit the right spot for me!