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Emiliano Carrillo

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Emiliano Carrillo last won the day on April 26

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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. 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!
  2. 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!
  3. 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!
  4. Emiliano Carrillo

    Single Edged Viking Sword

    Thanks Alan! It was for a few reasons but mostly because I was working on everything at once! I wanted to make sure I could have the sword together and make sure the pommel affected the balance properly, so there was much fiddling to tune it 'just so!' Thanks Doug! It handles beautifully! The sword is light and purposeful in hand, it is very alive! My man Thank Brian! Thank you for your kind words! I am very pleased that this sword came out the way that it has! Hey! Thank you! It was actually a 'registration' mark. I like to know which side is which so my fit is always being improved instead of messed with. I usually punch a small dot on the pieces now to let me know which is a trick I picked up from Peter Johnsson. I think you can actually see the mark faintly in the next photo down through the scale on the tang. Thank you! I hope they are useful! They're trying to get out but not today! Thanks Dave! I'm glad you enjoyed! Thank you! Thanks Wes! It means a lot coming from you brother I'm glad theres some useful stuff in here! I always take a lot of photos just so I can make sure I don't forget anything important, but it is nice to know it is useful for other people too! Thanks Collin! Hopefully not too much boring detail! I'd sure say so! it's taken my fingerprints often enough as a 'don't get cocky' sort of gesture! Yeah! Thanks John I'm glad you were able to see it! So often these pieces pass on without many people getting to handle them in person! Isn't it cool? I forget where I saw someone constructing something like this with just wires tightly twisted inside and then soldered! And yes I will certainly do that!
  5. Emiliano Carrillo

    Historic Wolf's Tooth Pattern

    I think we all agree! I fourth the nomination! It was an honor working on this with Luke and John, probably the coolest piece I've ever had the pleasure of playing around with
  6. Emiliano Carrillo

    Historic Wolf's Tooth Pattern

    Hey guys! So I have the rest of the photos so far (and some video) so I'll fill in the rest. First is from when we were refining the edge material. It's some hearth material Luke brought from several years ago at Scott Roush's place. I forged the puck into a solid bar and folded once, then began accordion folding in 4 sectioned increments. I switched directions after the first accordion and then did two more rounds of folding. We ended up at 244 layers. From my study of original artifacts, and what I have been able to see in photos of polished artifacts this doesn't seem like an unreasonable level of refinement for Viking Age work. I generally fold until the material bends easily at the thin end whilst folding and shows no tearing, which with this material was rather quick. IMG_2200.TRIM.MOV This is a shot from when had just begun to forge the teeth into the edge bar. It is next to the billet which I folded and forged out to become the twists for the body of the blade. They are essentially 7 layers of two different pieces of refined iron bloom. The initial pressing of the iron teeth. IMG_2211.TRIM.MOV And the end! This was before allowing to cool and wire brushing. IMG_2212.TRIM.MOV A shot from when I was in the middle of welding the teeth to the edge bar. Here you also see the twist bars in progress. This is a particularly interesting pattern as most of the work happens with stock removal. The basic shape is forged and the rest is ground in as not to distort the teeth too much. I believe it was done this way historically as well, with the minimal amount of distortion seen on these pieces. It also seems most spears have two layers of pattern welding, with perhaps two twisted bars on each side and an iron core between them. Here you see the twists in good detail as well as the wolf teeth! So far so good. At this point I have normalized twice. Once I was about the thickness of a dime I normalized again and quenched in water. The next part of the process is pretty standard, I ground the blade to 220 and began hand sanding. I only made it to 400 and etched several times, unhappy with the definition I am bringing out in the twists. I will polish again and bring the blade to maybe 1200 and see what I can bring out. The blade is wonderfully clean. There are only a few teeth that did not fill 100% and these are still very clean. The blade is 9 inches long, 1.25 inches wide and .25 inches thick. It has a wicked distal taper. This is very much like I would expect the seax of Charlemagne to feel in hand, almost ethereal. Next to a life sized print out of the Helsinki spear! I'll take more photos like this when I have finished the polish so that the details can really be seen. You can see the characteristic flow of the iron into the depressions in the steel. IMG_2237.MOV Hope you guys enjoy where we've gotten to so far with this collaboration! The plan now is for me to finish the blade and handle and send it to Luke for sheath work
  7. Emiliano Carrillo

    Single Edged Viking Sword

    Hey Everyone! I have here a few lot of photos of a commission I have been finishing over the last few weeks! It is a blade made for a good friend and client who has been amazingly patient with my slow progress. I'm happy to have it done and wanted to show it off here! First some finished shots and then the WIP shots. Enjoy! Some stats first! Blade is 30.5 inches long and weighed a little over 600 grams on its own. The finished sword weighs in at 1036 grams. It is pattern welded and made in four bars, a random edge of 300 layers and two seven layer twists with iron on the spine. The hilt fittings are iron with silver wrap. The grip is basswood covered in hemp cord and then leather dyed dark. The scabbard is made of sheepskin and poplar covered in linen and then leather, with a maple scabbard bridge. It is made in a historical style drawing very heavily on several original artifacts the client documented and shared with me. The proportions and sizes are an amalgam of several of these artifacts, mostly from Ireland. This sword is purpose built, it sings with intent and seems to pulse in your hand. It is alive and strong, quick and keen, and sings sharply as it cuts through the air. So! I started with a few billets of steel and iron and went to town; here's the WIP! The bars each received two tight twists in small sections offset from each other, trying to make a nice repeating pattern that is not matched from bar to bar. Here I have the bars laid up and ready for welding. A bar folded to 300 layers of 15n20 and 1084 and the two twist bars, seven layers of 15n20 and 1084, and then a spine of wrought iron. A kind of wonky time lapse video of forge welding the billet. Unless I am doing a small knife or seax I like to do my forge welding by hand. IMG_0694.m4v Apres forge welding! Nice and clean looking. I actually over estimated by quite a bit and the billet was about 40 inches long when finished. I cut off the excess and forged a foot long seax out of it, which I'll post about sometime later! I cut the tip and began forging the shape of the blade. The tip shape of this sort of sword is very characteristic of the style and hard to miss. Very flat spine with an often rounded and abrupt tip taper, sometimes more gradual like mine. And the rough forging is done! You can see the radius of the fuller forged in near the shoulders of the blade in the reflections of the water. I try to forge everything as close as possible before beginning the heat treat or grinding. Fast forward a little while and you get to this! I brought the sword to Matt Berrys place and used his luxuriously long heat treat kiln. I had to quench the sword 3 times because of a pretty drastic curvature that occurred. Because of the wrought iron spine the sword gained positive sori and ended up looking like a beautiful katana, which would have been great if it was meant to be a katana... So I did it again, and then a third time, with a pre forged downward curvature, which straightened out slightly and ended with a nice slightly curved blade. These blades have a very characteristic downward curvature seen in most examples. This is a pretty clear sign of oil quenching, as the quench is slower the edge pulls the blade downwards, and with water the spine cools more slowly which pulls the blade up. IMG_0762.TRIM.m4v The blade sitting after quenching and after cooling enough to stop curving up. The pattern showing through the scale. Post temper! I almost wish I could have left the sword like this. So at this point work got a little crazy and I took a break from commissioned work. I was able to begin planning the rest of the sword, but it would be a few weeks before I could work on it any more. I sketched up the hilt fittings based off a few originals my client had a chance to document, and based some of the proportions off this sword in Jeff Pringles collection. With my magical drawing in hand and boat shaped forms in my mind I began to forge the hilt components. I took a page from something Peter Johnsson taught me and made a punch the shape of the blade at the base to create my rough guard. Then it's time for drilling and sawing with a jewelers saw to create the correct slot to fit the tang tightly. I find it really nice to have a drawing to work from. My pieces aren't made perfectly in my minds eye and then on paper like Jake does, and the shapes and forms occasionally go through some changes, I find it really helpful to have a drawing that is roughly what I am after to base my work off of. Like you can see it is rough and quick but allows me to annotate and measure and riff off my design easily if need be. And shazam! Guard is polished and etched with the upper guard on the way. I chose some basswood I got from Jesus Hernandez. It is easy to work and robust, making good tight fitting channels in just a few minutes. Once the channel fits the tang properly I can glue the halves together and prepare for the rest of the grip work. I changed direction a little bit here and drilled and filed the upper guard to fit the tang and the rivets for the pommel. Here are most of the parts 'assembled' to get a feel for the size of things. A shot of the sword from the bottom, showing the character of the iron and the tang end to be peened over later. While I was working on the guards I decided to start the sheath core. Like usual, I'm starting with 1/16 inch poplar which I cut slightly oversized to fit the blade. I got some help from my girlfriend shearing some Icelandic sheepskin short enough to line the inside of the scabbard with. It is grained material, so you basically have two options, you can orient the grain in or out so that the sliding action is smooth going into the scabbard or out of it. I chose to have the action smoother for the draw, as I imagine a smooth draw is a little more important than a smooth re sheathing. The material does seem to soften up after a while, and the difference is now barely noticeable though at first it worried me. I like to use a worn out 36 grit belt and the flat platten to shape my wooden grips. I find I can make them very accurately and size them appropriately to the project. I account for the cord and then leather that will cover the grip. It should feel slightly emaciated when holding it in your hands at this stage. The beginning of the hemp wrap. And ready for leather! A leather wrap on its own is strong and can add structural strength to a grip, but cord added to the underwrap can really add a huge amount of resilience to your grip. Using hide glue and some other tips from Peter I begin to skive and prepare the leather for wrapping and gluing. After some diligent and careful work I can sleep and let it do its own thing over night. You'll probably have noticed the scabbard core. I glued the sheepskin to the inside of the poplar slats and then glued linen on top. The linen acts as a semi flexible cover to help the scabbard move and bend without breaking but allows it to remain rigid at the same time. This will be covered in leather later for durability against the elements and to further strengthen it. I have made the rough iron block the pommel will be shaped out of. I drilled holes and set pins to allow me to assemble the whole thing later. And filing time! A rough fit of the pieces to get an idea of where this is going, so far so good I think! Next I dyed the grip a nice dark brown using tape to keep dye from the pores of the iron. And the pommel is shaped and etched! Now for the silver wire inlay. Wrapped and soldered. I filed and forged in some spaces for the wire to lay, as well as the peen of the sword. And assembled! I don't have any photos of the actual assembly, it got kind of crazy and I forgot to get out my phone. So now that the sword itself was done the leather work was next. I had one bad application of leather and had to remove my work. After some careful wetting and pulling and cutting I was free of the old work, and could begin fresh. There is something beautiful even about failure. Undeterred (kind of, I had to wait a week for new leather to arrive) I began anew, and didn't take any photos of the process as leather work is quite stressful for me, and I spend most of the time the glue is malleable massaging and working the material to get it just right. I set up the risers to hug the leather cord I plan to use to attach the scabbard bridge later. I took a piece of maple I liked, and began with that worn out 36 grit belt. In about 15 minutes I was ready for filing and sanding. I use a pencil and files to mark out and create the indent for the leather cord to tie the bridge to the scabbard. And a few minutes later! Finished and oiled. Fairly low profile, to accent the graceful and quick feel of the blade. Next I finished stitching the scabbard, another fairly stressful task made more enjoyable with television and some choice beer. Late that night I finished stitching and was ready for the tying of the bridge. And finished! This sword took about 120 hours to make from start to finish. It was a hugely fun project and I hope to revisit the idea of a single edged sword some other time! For now other smaller pointy things lay in store for me!
  8. Emiliano Carrillo

    Shear Steel; The Experiment Begins

    When reading I was going to comment exactly what the others above have said! When I use my home made steel I generally don't fold 100% in the same direction. The first multibar sword I did with home made steel had shears all over it because of the iron being refined only in the lengthwise direction. Now I generally fold three times in one direction, switch 90 degrees and fold three more times, and repeat that process as many times as I need to get good clean material for my application. I think you are fine doing it with the orientation you chose, but be prepared to fold in the opposite direction quickly or even orient square pieces 90 degrees to each other to save yourself some work and heartache in the future. Jake is also right, it's a staple of Japanese techniques to alternate the direction of the folding as it really does make the material stronger. I haven't had occasion to test my home made steel blades in that sort of scenario but I can tell you the welding and folding gets much easier when you are changing directions
  9. Emiliano Carrillo

    Old Globe Wrought

    Hey Joshua! I've bought about 80 pounds of their nails so far and have made a lot of hearth steel with them. I called and conducted all business through the phone which was the best way to do it. Perhaps calling and explaining what happened would be a good idea? I had a completely positive experience with them and am planning on buying many more nails when I need them. I hope you're able to get your material!
  10. Emiliano Carrillo

    Forging a Seax with Greg Rutherford

    That was an absolute pleasure to watch, Owen! It's pretty clear you both had a blast doing it, and I do love a good melon chop a much as the next guy
  11. Emiliano Carrillo

    Antique Wakizashi signed Sukemitsu

    Hey everyone, this blade is sold! I have access to several more beautiful antiques that are going to be sold soon by a collector friend of mine who I have bought many pieces for my own collection from. If anyone is seriously interested in having access to that list please send me a message!
  12. Emiliano Carrillo

    Viking Sword Fingrbitr

    Thanks everyone for the kind words! As for the name it happened during the rush to finish for Ashokan. Joshua I hope you didn't get in too much trouble Here are some more photos. Starting with the day of Ashokan! The first thing I did that day was start working on cleaning the blade and etching it, which is where the trouble began. The blade was so sharp that I merely touched it when cleaning off oxides and it flayed one of my knuckles pretty good. Same thing happened to Matt later so it drew blood trice, on each of our fingers, hence the name! Here are some photos of the fittings as finished before assembly. Matt's carving and casting work is really something, I admire the attention to detail and depth of his work quite a bit. Dry fit to the blade. We peened the guard in place first, making sure it was seated properly and using a flattened chisel to move material. Here Matt is mixing up the Acraglas for seating the elements because it gives us a longer work time. Here Matt is peening the guard on to the tang before we peen the tang to the guard! And prepped and ready for peening. Peen in progress (Also you can see my wound). Peened! And ready for the last bit of work! And done! Hard part was done, the next hard part was making it down there in time for happy hour... And we did! Here you can get some scale for the piece, the blade is 30.25 inches long and the whole sword weighs around 2.5-3 pounds, so it feels quite substantial and powerful. Okay so we went to Ashokan, showed off this sword and the Vehmaa sword a little, and then I came home with it to begin the scabbard. I decided to use poplar slats covered in linen and leather for the scabbard, leaving room for Matt to work his magic with the bronze pieces. I made the slider out of ash. I cut the slats about 1mm oversized to accommodate the blade snugly but not too snugly. I used the linen and glue to actually curve the wood. This is an interesting process because with the application of glue and subsequent expansion of the wood on that side, the board warped in a controlled manner. I have not tried this with a lined sheath but I believe it would work with some careful planning. I used a bit of an odd method to do the mouth, I pretty much wrapped the linen inside and out to a certain depth with some tricky glue work and some help from my girlfriends steady hands. I use tape and glue to help me get a clean line for the linen to adhere to. Both sides glued. And rough trimmed! At this point I used some rectangular cross section leather lace to make risers on the scabbard and then chose my leather for the wrap. Here you can see the subtlety of the imprint in the leather.
  13. Emiliano Carrillo

    Viking Sword Fingrbitr

    Hey guys! Matthew Berry and I just wrapped up a project we've been working on together for a while so we thought we would share it here! This has been a project we have swapped back and forth a few times and though some of you have seen it already I hope you al enjoy This project starts as most do, with a billet, or three. The blade is made of three twisted bars of 1084 and 15n20 with an edge wrap of 800 layers of the same materials. It weighs in at about a pound and a half. The blade is 30 3/4 inches long and has a fuller running almost its entire length on both sides. Rough forged blank ready for beveling and fullering. This photo reminds me a lot of burial swords with the patterns preserved in fire scale. I do all my fuller grinding for double edged swords free hand on a six inch wheel. I can get very thin blades with appropriate dimensions both in fuller depth and width with this wheel though I have considered getting a larger wheel (and a new belt grinder for that matter). This is the fuller being roughed in after forging. You can see flatter spots near the top of the photo and the more defined rounds in the center near the light bright spot. And finished and ready for heat treat! My only trick for grinding these is you are your own jig, you have to be able to use your body in a controlled manner and try not to sneeze! The fire scale revealing the pattern in the blade during normalizing. And heat treated! The blade came out almost dead straight and I was able to do some small tweaks during the superplastic stage, so no need for temper straightening. Back to grinding, I promise this will get more interesting once Matt chimes in, but for now it's just grinder pics, which are some of my least favorite. Grinding through decarb... And finish ground to 400! Here is the blade ready for hand sanding. And polished with a super light etch for the time being. At this point Matt came over and picked the blade up to do his magic. Stay tuned!
  14. Emiliano Carrillo

    I feel like a dog sometimes...

    You guys ever get the feeling that you're focused properly on something and you're doing it and everything is going well and then all the sudden BAM you're working on something completely different without even realizing it in earnest? That's what I feel like recently! Chasing after a bunch of different squirrels. On the plus side, it means things stay interesting! Here is a large tanto forged out of hearth steel I made with Mark Green a few months ago when I was sent to NC for work! Masame hada, two piece habaki and the first piece I have signed with my 'art name' Amemitsu saku is what it reads. I've very pleased with the shape, it conforms nicely to traditional aesthetics. The first proper signature I've done, I did maybe ten practice pieces on iron beforehand. It takes work but I am confident I'll get there! Here is a photo of the chisel I used in case anyone else is in the situation I was in and wants to sign their work but has no idea what the chisels are meant to look like. Very blunted. Mine is 5mm wide with a super fat angle like you see in the photo. More hearth steel goodness! The two on the right were made as a set and shipped down to Holster Fine Art for the Cut Above kitchen knife show that is happening down there. The one on the left is a bit older, but fits with the theme nicely. I sent a little piece of the raw stuff along as a display item. So then I decided to switch gears! I started the billets for a commissioned sword and accidentally ended up with four feet of multi bar billet so I cut it up after welding and made a small seax as a test for the pattern to see how it would turn out. The rest was destined to become a single edged norse sword that I'll share when it is done! I learned a trick from a good friend where he uses a piece of pipe between the jaws of his vice and the bottom of his twisting wrench as a way to get even and equal twists. I have been experimenting a little with that method since then. All welded up and looking nice! Beginning the forging. And done! Forged fuller and tang. It is hard to get photos of any of the forging steps as the light in the shop is not great, but here you can see some of the definition in the fuller. Any of you guys who have seen my work before may know that I really don't like jigs. I prefer to do everything by hand if at all possible, but sometimes it really is the right tool for the job. I have decided that it is vanity to say definitively that I do not use jigs, because it is folly to assume my hands alone will always be the only right answer to a problem. The problem I faced here was that grinding the fuller onto the spine area was really difficult and I did not trust my hands and the stability of the grinder, so I spent a few hours mocking up a rest and using it to help me grind the fullers in. There are many swords in the viking age that look like they were made with the aid of guides and jigs, because it was helpful, and I will no longer be so stubborn as to say that I will not use them! Anyway, that was my epiphany for the year! Best to get it out of the way quick The next shots are of the seax, as a teaser for the pattern on the big guy! Wrought iron spine, counter twisted bars with 7 layers in them, and a 300 layer edge. Using some of the same steel from that edge bar, I decided to make a little chefs knife for a friend. Pretty simple, like most of my chefs its water buffalo horn and maple. Matt Venier and I have been doing a lot of experiments with hearth steel again recently, and I have been making blades out of the pucks to see how good the quality is. We are starting with old old wrought iron nails. Second fold after being forged from puck into bar, looking super nice! An obligatory fire shot, can't get enough of the hearth! One of the blades I forged from three small pucks put together. Ayasugi hada being filed into the sunobe. Ladder pattern for those of you who haven't drank the cool-aid yet Turned out nice! very low suguha hamon with relatively low carbon therefore less vibrant to non existent habuchi, which is fairly common for Gassan school ayasugi. Mine is a bit lower than I would have liked though, most likely due to heat placement. look at all them waves! And last but not least something else super different! A little folding knife for a client made from mammoth ivory and pattern weld. Hope you guys enjoy! I have been working at editing down my photo spewing and all that, I've got plenty more to show but that will be for later
  15. Emiliano Carrillo

    Making a Scabbard With a Veneer Core

    Peter! Having now held one of your scabbards made in this way I am convinced I must try it! I have used 1.5 mm wood before as the core piece to scabbards and while it works well, the singular nature of the wood allows for warping and bending which I am not particularly fond of! Do you happen to have an international supplier for the veneer? I'm afraid there aren't really any hobby shops around here that I can visit in person. I hope to make the scabbard for the sword Joyeuse like this and bring it to you completed when you return to the states