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Emiliano Carrillo

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Emiliano Carrillo last won the day on February 11 2019

Emiliano Carrillo had the most liked content!

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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. Very cool idea! I love the idea of the cherry blossoms and the tsuba! Nicely done
  2. Thanks for the love on my idea! Looking forward to seeing what happens with the KITH!
  3. Before you get into finishing I would suggest forging the nakago/tang further down to make it more in line with the curvature of the blade. Even tachi with extremely curved tangs have a step down where the mune meets the nakago mune, where the habaki sits. You can still have a funagata style nakago after that, but the step down from the mune is necessary for a working blade.
  4. I think the theme should be seasons. Pick a season you identify with or like the most, and create something that thrives in that element. For instance I am partial to Winter and would make something severe and cold. Perhaps a spring theme could be that of renewed life and warmth, and fall decay and darkening, and summer warmth and sun. I think it could be a great exercise to create something thematic that doesn't necessarily have to relate back to mythology or history, but can be influenced by them all the same.
  5. I'm sorry I missed this so far, but you are doing great work! The shape and pattern are right on. You can get some interesting results by changing the proportion of your bars in the billet. For instance making the edge bar closer to half of the full width of the blade and making the iron spine and twist the same width, or even making the iron spine less wide than the twist. It can make the pattern appear 'finer' and lets the edge bar make the blade appear wider. Not that you did anything wrong by a long shot! Just me musing on pattern layup. I have found a lot of smiths are very lazy with their twist patterns and have twisted bars drawn out to several to mess their length and no longer resemble twists at all! Looking at the original artifacts you can see all of the shapes and patterns are made with exactitude and purpose, which is something you showed here. again, great work and I can't wait to see the rest! Any plans for the grip?
  6. Thanks Charles! It was a pretty 'simple' forging, the layering is a result of how I usually forge this material, alternating the direction of folding every few folds. Basically like making ply wood out of steel! The hamon it took is quite beautiful though, that second video brings it out quite well! Nope not sewn, I usually glue this type of sheath! I've found the glue is stronger than the leather itself and doesn't let go, so no need to stitch other than aesthetics. Of course I'm not sure how historical this construction is, but hide glue was plentiful and does a wonderful job joining leather! And yes good call I forgot to post the link! Thanks Alan it was a surreal experience, and brought together several of my loves in this journey! Thanks Mike! Thanks Joshua! They're basically just fly-bys of the knife and sheath, the second one shows a bit of the activity in the blade! Thanks Zeb! Yes absolutely the trip was I think the best I've ever been on! Smelting and a beautiful country, what more could you need? Thanks Pieter! It was a hard decision to make because it's so easy to get into the modern mindset of making things perfect, but it really 'worked' for the project. It looks a little more organic to my eye this way! Thanks Karim! It was certainly on mine as well hopefully there is more to come from all of this! Thanks Wes the steel was a wonderful surprise! I've yet to polish any larger knives from the period, but having looked at some axes I have and photos online, it seems the steel is quite close to what you could expect from that period in history! The leather was a lot of fun, I'm getting faster and finding a bit more of a style in the knotwork I've been doing. I'm still a bit of a ways away from being able to design good knots all from scratch but there's time! Thanks for the kind words brother!
  7. Hey guys! Here is a knife I made as a gift for William Short, the leader of Hurstwic, as a thank you for inviting me to Iceland on an iron making expedition this summer. We went and created iron for the first time since the 1250's in Iceland, after Norway forced them to start importing iron instead of making it. There are however, about a bazillion (scientific term) iron rich streams and bogs in Iceland, and naturally occurring Kaolite, plus many archaeological sites where a lot of iron was produced, such as Eidar where ~1000 tons of iron were produced over about 300 years. Added to the fact that there are other sites where bloomery furnaces are found, on farms with an iron rich stream nearby, and where forest used to be, on a body of water connecting to or on the ocean, it seems iron production and export was very common in Iceland. Bill first got interested in all of this after seeing Eidar, and after some experimenting at home it was time to go. I'll probably post something more about that trip in the bloomers and buttons forum or something, but at any rate! He was kind enough to bring me in as a consultant during the experiments and learning at home, in preparation for the event in Iceland, and he invited me to go with them. As a thank you, I wanted to make him something in the style of what an imagined settler of Iceland could have carried. We had a feast in the reconstructed longhouse of Eirik the Red and gifts were given, which is when I presented this secret gift to him! Without further ado, here's the photo essay! One of the bloomery furnaces we ran at Bills house during the year of prep for the festival. The actual material for his knife came from maybe the second or third smelt I believe. A small collection of the bloom we had made over the year, sliced up into easily workable sections for forging. Most of it was steely bloom as opposed to iron, so this particular material needed a bit of extra careful folding and forging. I chose a piece I liked the look of and began to fold it. Two folds in! Looking surprisingly good considering the nature of this material. Some nice sparks from the bar 6 folds in. After 5 more folds (total of 11) it was ready for forging. I forged and ground the blade quickly and then hardened it in water. You can see the artifacts of hardening, which will be visible in the final product. Skip forward another 6 hours or so, and you have a finished knife! Sitting on a piece of bloom and a chunk of boxwood. I started designing some carvings based off a Norwegian church carving. I designed on the sheath in pencil and then began the carving, the entire process from starting the design to finished carving took maybe 2.5 hours which I am very pleased with! I am beginning to feel more comfortable with these styles of decoration Half way there. Here I am about to complicate the knots on the right side of the sheath nearest where the leather strings will sit, and I chose to make some unresolved lines as well. Most of the period art I have seen seems to have some lines that don't quite go anywhere. I think this is wonderful, and wanted to add some of that into this piece. A shot in more natural light showing how well the stippling brings out the definition in the carving. And done! Aside from dye that is. The runes say who it was made by and for whom. I also added the grace lines, to visually complicate the knots. Above the runes you can see the extra knots I added that aren't resolved. It was definitely odd making the carving 'imperfect' but I quite like the result! Dyed! After a few minutes when it is dry you can buff with a paper towel or some other soft rag to brighten the high spots and matte the lower ones. And some finished shots/video! The second video shows the blade moving in the light a bit, showing the hamon. IMG_2066.mov IMG_2048.mov Anyway, hope you guys enjoy the knife! -Emiliano
  8. I started welding wrought iron tangs onto my swords and seaxes for the reason that when I'm pattern welding it is easy to distort the pattern when forging the tang in and peening modern or even mild steel just sucks. In order to combat that I would forge a stub tang, weld a wrought iron one on for ease of peening, and then grind the shoulders up about 1/8-1/4 inch to deal with the distorted material. The softer material helps a lot with the peening, particularly on smaller blades. I'm gonna be doing a forge welding demo at Ashokan this weekend starting with a bar of wrought iron and a piece of pattern welded steel, and show a method for forge welding without wire or tack welds, then forge weld a wrought iron tang onto the blade, preserving the steel where it's needed. I'll also forge two blades from this material, hot cutting in the 45 degree angle to create the tip of the blades. My intent is to show an old school approach to forge welding and the additive nature of this technique which allowed historical smiths to create larger objects from bloom iron. I think the key feature here is the fact that all work back then was additive. It's hard to get in that mindset as a modern smith especially with how ease stock removal is for us. When you have a couple small bars of bloom and need to make a large sword, you get really good at thinking in puzzles and solving the problem of how to create a workable and useful bar of material, you need to maximize the steel in the edge and maximize the iron for the rest, including the tang. Having steel in your tang doesn't really net you anything besides maybe resistance to bending as far as I'm concerned. Seeing as so many war time Japanese swords also had iron tangs welded on, and not a lot of them have broken at the tang, I would posit that this is a really durable method, and isn't likely to fail. I have clients that abuse the work I do in the field, and none have ended up with a shorn tang. I think the video was well intentioned but he made a lot of claims that don't make sense. It's true, that was and still is an important way of making use of the various properties, but most people nowadays don't do this technique for the same reasons as it must have originality been done. I've held and documented several larger seax blades, all of which had the tell tale signs of a forge welded tang and sandwiched contribution. In making bloomery steel swords I have also welded a tang on, for ease of peening but because when you have a ~15 bar sword made from dirt you don't want to lose any more material than you have to. I don't know if that helps anyone, but I see this method as an extremely practical one. I have a hard time believing it was done originally for any other reason
  9. 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
  10. 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!
  11. 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
  12. 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.
  13. That should help! Search Amazon and eBay, that's where I have had the best luck, never found any locally!
  14. 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
  15. 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.
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