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Emiliano Carrillo

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Emiliano Carrillo last won the day on September 13

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About Emiliano Carrillo

  • Birthday 02/01/1995

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    http://emilianocarrillo.com

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

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  1. Thanks so much Josh! Your words are received warmly and with much happiness! It is my greatest joy in this craft to share whatever I can, and it is even better when people enjoy the work!
  2. Hey everyone! Here is a short recounting of the last few months work and travels. I already showed you guys my final project for graduation, but here is the rest of what I was up to when I should have been working on that specific project. Here goes! I have a love affair with home made steel. Bloomery, hearth, wootz, whatever it is I love that ancient grain. I have been learning to make my own steel for some time now, with the help of some great fiends and mentors, and make steel whenever I have the opportunity to do so! Last winter I made steel with my good friend Dan Waddell, later that month with our favorite Jeff Pringle, and then a few days later with Jesus Hernandez, JJ Simon, and Matt Venier! I was challenged by JJ to make a bowie knife a summer ago, and finally had time to work on the blade we had forged together. It is my first bowie knife and has a frame handle, hollow ground bog oak scales, and 80CRV2 blade. The guard is mild steel and the pins are stainless. I had a bunch of issues with fit and finish and the bog oak was unstabilized and rather chippy, but overall I am very happy with the result! A good friend of mine and Nihonto collector ended up falling in love with the blade and traded me a wakizashi for it, so I finished a sheath for it using sting ray skin as a nod to our shared passion for Japanese swords. I then did an aboutface and made a few seaxes, one for a client, one for a collaboration in the works with my good friend Eli! The first is 1075 with a nice autohamon and a twisted bar in the center. My favorite detail was how the twist ends and then turns to straight laminate for the very end of the blade, that is a touch I will certainly come back to someday. The second seax is mostly old material, with a little 15n20 thrown in for interest! Hearth steel edge with an iron spine. I made a sheath for a beautiful seax Zeb Deming made, and finally finished a collaboration we had started a while ago. The tooling is similar to the small seax I own from Zeb. So this was all happening during school, my last year, which you would think is when I would forsake all fun and get down to work right? Not so! I got a call from Kerry asking if I wanted to shoot Man at Arms with him and the gang, and I took a few weeks off from school to go shoot with them! We shot a season of the show for the El Rey Network, Robert Rodriguez's network. We made historical weapons based on different cultures and it was a total blast! Jesus and I worked together on a few of the builds and had a lot of fun being 'outsiders' on the set seeing how practiced everyone was in front of the camera! I filmed there for two weeks before heading home, and spent a lazy day at school before being flown out to Texas for a promo shoot with Danny Trejo and Robert Rodriguez. So i came home and got back to 'work' which I have to put in quotes because whenever I'm making I'm almost always having a blast! I got to a client's commission for a broad seax with amber. I had the idea of inlaying it into the pommel with a hole all the way through so both pieces of amber would glow as if lit by fire. That was a lot of fun! 1075 and wrought for the blade, carved moose, maple, wrought iron, silver, and amber for the handle, and leather and brass for the sheath. I took the opportunity while I was in the mood for leather work to make a sheath for the Garnet Seax I made a while ago too At some point later my girlfriend decided she really loved this knife, and as the carvings were originally meant to be for a hair pin, I decided to make one for her as a surprise. I asked Dave DelaGardelle to share his carving mojo with me and I think I did okay! Projects like these are something I really love, a day project that turns into something really wonderful for a loved one. I made a folding knife for the wife of my good friend who collects Nihonto! Made from pattern welded steel and mammoth ivory, with decorative pins. She fell in love with this one during the graduation show I had, so it was hers. I did some mourning work for him, and worked on a tanto he had, making the tsuka and fitting the samé and the rest of the tosogu. IMG_6748.m4v I made a kitchen knife out of mystery steel that has cracked or broken on me every other time I had tried to use it since. I quenched this particular knife in water directly after forging and normalizing and haven't had any luck with the steel since then. Water buffalo horn, maple, iron, and mystery steel. It has one of the favorite hamon I've ever made and I am perplexed as to why it happened. Last year sometime when I was waiting to board a plane for Forged in Fire I got a call from Nick Rossi asking if I would be willing to teach a seax class at the New England School of Metalworking. I had heard really wonderful things about that school ever since I began to smith, and I agreed immediately to doing the class! I prepared several slide presentations and brushed up on some history and hoped for the best. It was a total success! The students made some amazing work all around. Of the students I believe only one had done and pattern welding before and only a few were experienced in forge welding. I showed them a cross sectional photo of a six bar seax with patterned bars on each side of it and they really hooked onto the idea as a way to forge a blade of regular thickness with the eternally sought after star pattern in the twists. My initial idea was three bar seaxes about 6 inches long with an edge bar, a twist, and wrought iron spines. Every single student overshot my highest expectations and made some wonderful stuff. I split people into two groups for most of the work, with the first group starting to fold edge material to ~300 layers and the other group drawing out bars for twisting. Dereck and Nick had previously done the work of drawing out the wrought iron for the spines. In the photo above you can see the cross section of the demo piece I made in between running around to show them the six bar construction. Here is the blade Aidan made after rough forging And him and Coulton working together to burn in the handles Working together (do you notice a trend?) to wet form the sheaths Stephen drawing and wrapping wire around his seax handle A photo of Coulton's war monster. He wanted a subtle etch to bring out the pattern very lightly and man is it beautiful. Here we go! First is Nick's seax, a continental style seax with some sweet counter twisted and offset bars and maple and moose antler. A beautifully light and thin blade, this thing was demonic in it's sharpness. Nate's seax, a set of twists framed by wrought iron and made into a wicked broken back shape. Antler and mahogany (?) handle Stephen's seax, beautifully wrought with a gently flowing pattern. Silver wrapped black walnut handle with red tail deer antler Jeff's seax, counter twisted bars done cleanly and with control, framed by wrought iron and patterned steel with a stout handle of antler and maple. Coulton's war seax. I'm not sure how large the pictures make it look, but it was HUGE. Wide powerful blade with beautifully matched twists and a subtle pattern. Aidans giant orc seax! Seven bar construction with hamon (show off) Last is my own demo piece! Forged from six bars of the steel we prepared. In only six days we forge welded billets for edge and twist bars, layered the edges from 11 to 300 layers, twisted and prepped billets, forge welded, drew to shape, ground, heat treated, ground and polished, roughed and fit handles, did final assembly, and even made sheaths! I am in awe of the dedication and teamwork each one of the students showed, and the pieces they each walked away with are testaments to their work ethic and willingness to not only make, but learn about these amazing knives. The seax is one of my favorite knives for a reason, and the work that each student put out is exactly why. I left feeling extremely rewarded. It was an intense week of work and learning but the camaraderie and hospitality shown to me by Nick and Dereck made me feel at home in a shop I had never even seen before. I came home and had to finish a sword in a week! A good friend, kindred spirit, and client was to receive an SCA award for excellence in making and this was to be the surprise. He was told the sword would be done in another month or so, maybe in time for Pennsic, maybe not He named the sword Virtu. It is a type XV based on the Fastolf sword. I brought it to Zack Jonas' to visit with Peter Johnsson while I worked on it, and he gave me his blessing saying it was a good blade. That was the push I needed to go back home and finish it for good! The blade is shear steel quenched in water with a wrought iron guard and pommel. The guard was my first foray into files guards, and was a pleasure to do! I hope to do more of that in the future. The grip is different from the sword it was based off mostly for reasons of comfort. In doing a test the original sword's grip must have been awful to grip without a serious glove. I was so short on time I received help from my friend Oliver in turning the wrought iron for the pommel. I then ground the hollow on the perimeter of the pommel freehand and spent an eternity polishing away the marks. Eli helped me polish the blade. I spent a few frantic days working on the grip and sheath, having to wait of course for the glue to dry and the linen to be ready for the leather wrap. The tooling was accomplished at 2am the night before the delivery of the sword was to be done. The moons represent many late nights, immortalized now in leather! The rest of the carving is a lattice pattern (not pictured) and the client's coat of arms. I co-taught another class at Hampshire during the summer. Three of the students that came last year decided to come back and take the course again, wanting to continue their projects and learn even more! It is such a gratifying feeling to have been able to show them enough that they decided to come back and work in the same smithy again. Cole had started a sword on his own, having set up a shop at home since last summer, and he bought it with him, where I showed him how to grind the fuller and he spent days polishing. We cast a set of type H fittings I had carved a long time ago for my ULFBERHT build and finished it before the two weeks were done. It is a great pleasure to watch students of the flame grow and improve in their own projects and this was no different! Last but not least I have been playing again with home made steel, as all things are cycles. I have been fortunate enough to be entrusted with antique Nihonto and allowed to re polish and play with them, and have had much fun and success, as well as learning. I quenched a hearth katana during the eclipse with my great friend Matt Berry and then a small norse sword/seax and then also a viking sword later on, there are photos of those but for a later time! For now, steel-magic and rest, because if you're not weary after reading then you truly have a greater attention span than me! I leave you with tamahagane and bloom made by myself and Jesus polished by a mix of old and new ways. I hope you guys enjoy! And again, like the title says, I am sorry for writing so much! ps I am so surprised I didn't surpass some sort of photo limit...
  3. 1. Brian Dougherty 2. Wesley Alberson 3. George Ezell 4. Doug Crawford 5. JJ Simon 6. Karim 7. Aiden Carley-Clopton 8. Michael Lenaghan 9. Dan Bourlotos 10. Pieter-Paul Derks 11. Emiliano Carrillo
  4. Seconded! I have used several pairs of JJ's tongs for a few years now and have run them into the ground, they are superbly made and stand the test of time!
  5. viking

    Impressive enough indeed! Seconded
  6. If you bring more of that moonshine anything is possible!
  7. Thanks everyone! I'm also really glad I was able to jump in this year even though I didn't have to rush it seems! George and Dan, I'm pretty sure it's just wrought though it does look a little like some of the first iron I had made, so who knows! When you have bars of this stuff around you never know, and I didn't start labeling my own material for a while after I started making it. The edge is modern steel though, hand folded pattern weld out of 15n20 and 1084. I am happy with how well the two materials match though! And thanks all! The handle was inspired by a knife I saw JJ make last year, and I've wanted to try it since then. I can't wait to see the rest finished up and for us to do the drawing!
  8. Thanks Robert! I'm really happy that my passion comes through in the work that I've made. I hope the weekend went well and you were able to get some good work done! It's five O clock somewhere right? Thanks Peter!
  9. Thanks Luke I'm glad you like it brother! I'm not sure yet, keep it for a while but then sell it if I get a good enough offer one day! Thanks Allen!
  10. Hey! I've been trying to make the KITH work every year I've been doing this so far, and this one actually worked!I forged a knife blade the other day and then spent some time trying to figure out what I should do with the handle. I saw JJ a few days ago and he told me I should do a frame handle, so I did. This has been a lightning fast build for me, with about 8 hours total in so far. All that is left is a quick hand buff of the handle and it is ready to ship out. I got some maple and walnut ground to thickness first, real good way to chew up your fingers on a belt! Cut the frame out of the maple, nice fit though I left room for epoxy. Starting the glue up I wrapped everything in hemp cord to cure Nice and blocky! Its ergonomic right?! Started bandsawing the excess material off to make my grinding easier and quicker. Look at those racing stripes! From the belt grinder Polished up to 1000 before assembly! You can't really get a feel for the wood here, but it looks pretty wonderful oiled
  11. This is wonderful Jeroen! I have made a similar piece before and loved the piled twist look in such a small area. Even more impressive is the set up you used! great work!
  12. Thank you everyone! It is really wonderful to see that fellow bladesmiths are enjoying the work! Thank you Chris! Thank you George I think we make a pretty good team huh? No pressure now! I think I'll take a bit of time before getting back to making a home made steel sword like this again! Thank you! I wish I had more photos of the making to share, or even some video, but everything came together in a whirlwind which made it pretty impossible to capture more of it in photos. Thanks Petr! I am happy you like it! Thanks Joshua I'm really happy you like it! I think of this as a pretty big raising of the bar for both my own and Matt's work, and as a collaborative piece it showcases what we both do really well! Thanks Tim! It is nice to have it done and be able to just look and see it as an object!
  13. Hey man I've been following your progress and am super excited to see it done! That being said I know exactly the problem, you're having and may have some ideas. Saya were often beaten into the ground in use, and repaired several times during their lives, sometimes being taken apart for cleaning or to be fit to a new sword. When taking it apart was impossible due to the lacquering or whatever finish was on the saya, they would use a saya file, which is literally a rasp on a three foot stick. I'm afraid the historic fix to your problem is literally forging an extra long file. Scratches generally happen when the blade's fit is too close to the saya, ideally you only have contact on the tip, spine, and the top and bottom of the habaki. This point is contested as some makers want contact on the entire habaki and consider it to be a question of good fit versus sloppy craftsmanship. I've seen quite a few saya split in two, all original, and they are always smoothed nicely, probably scraped like yours was. On one I saw some rough file marks, indicating a saya rasp was used to remove some material that was causing a scratch or making contact. I would say your best bet is to ascertain where the scratches are coming from and modify or make a small file to really get in there. I hope that helps some!
  14. Thank you John I appreciate it! Soon hopefully we'll get together and you can see the rest of this stuff in person! Thanks Wes Happy belated birthday by the way! I appreciate it brother! I gotta admit if feels good to be out and able to do other things now. Thank you Collin! I'm afraid an 8 foot version would show too many oops in the piece I had wanted to write more but pictures are important too! I co-teach a summer class every year at Hampshire for highschoolers on bladesmithing with casting and other fabrication stuff involved. Come on over! Thanks Alan! Honestly if it weren't for this forum and the internet I wouldn't have been able to expand my understanding of the limits out in front of me as quickly as I did! Three and a half years in I've been exposed to decades worth of information! The Fiery Beard crew was a pretty huge source of inspiration since the beginning for me, it's a pretty wonderful thing to see people pushing the envelope left and right! Thanks you Alan that really means a lot! It was wonderful to finally put a face to the name! Thank you Timothy! I'm happy to hear you've enjoyed the stuff I've posted so far! That is exactly what I want to do with the work I undertake, I want to be able to connect it with the living history that precedes us and contribute to a new chapter. And of course! Someday our paths will cross and with some planning this guy will be with me Thanks Kevin! I'll get around to taking some decent photos soon! It's been a bit of a madhouse here but soon things will calm down some more I hope! Now I gotta find an Arab prince! Any leads? Thanks Salem! That's definitely Matt's wheelhouse! I've done it successfully on my own a few times, but when you work with someone who gets it from a historical standpoint, and is so damn good at it you can't really lose. Thank you Jesus! As a mentor and friend you've been incredibly generous with time and knowledge and I hope to be able to repay that some day! Thank you Garry! I am really overjoyed that you and others have enjoyed the work I put forth, and also that the writing wasn't over the top! Thanks Owen! I really like time travel with a hammer, there is definitely a connection you find with the work and the history when you approach it with an open mind and a willingness to take in and learn. The work you and the rest have done with Arctic Fire and the rest of the work you do has been a huge inspiration in completing this project and others.
  15. Hello! I apologize profusely for the novel that is about to come, I promise I won't be offended if you skip to the pictures I recently graduated from Hampshire College in Massachusetts. Instead of Freshman, Sophomore, etc, students are divided into Division I, II, and III. The first year you take a broad set of unrelated classes, and throughout your middle two years you hone in on something interesting you want to study. Your last year, Division III, is spent working on a thesis project that should be the culmination of the last three years of work and study, producing something wholly new, wether it is a long paper, an experiment, a novel, a play, etc. I have spent the last few years at Hampshire exploring bladesmithing, history, mythology, material culture, and how it all intersects now-a-days. When I arrived there I had never put hammer to anvil, but with some guidance from Elias Sideris and Don Dupuis, I began down the Way. Eli’s work was influenced by the Norse aesthetic, drawing from historical sources as well as wellsprings of artistic inspiration both new and old. I began researching, reading, and looking, and through other artists, like Jake Powning and Petr Florianek, I began to fall in love with that style of work. The seax and the sword captivated me and I began working to unravel their secrets and learn the proportions and geometries that make them be. I began to study Old Norse and the Icelandic Sagas and eventually became enchanted with the poem Beowulf. I first read it in high school and while I enjoyed it, I didn’t know anything about the poem below the surface. I began studying with Professor Craig Davis at Smith College who is a wonderful Beowulf scholar and knows the poem and its intricacies forward and backwards. He agreed to take me on in an independent study examining the use of weaponry in the poem. I began by isolating the four swords featured in the poem, and was later happy to see two of them brought to life by our own forumites and the crew of Arctic Fire 2016 when Dave Stephens created Hrunting, the ancestral and possibly fratricidal blade belonging to Unferth and lent to Beowulf for his fight against the mother. Then there is the Giant’s sword, brought to life by the fateful team of Jake Powning and Owen Bush, forged larger than life and more intricately than could have been imagined previously as a sword only a hero could have wielded. The Third sword is that of Wiglaf, which Dave DelaGardelle is conjuring into existence in his smithy with some steel that I forged for him. (this has been a call out Dave :)) Last but not least is the sword Nægling, an ancestral blade handed down to Beowulf by King Hygelac his forbearer. This is a kingly blade brought up earlier in the poem but used only in the final struggle against the serpent. This blade is an extension of the aged king, and carries the weight of his agency as king and protector. The blade breaks. Made by the hands of men, this heirloom is snapped when it impacts the serpents skull, too hard for normal steel. This is a beautiful moment in the poem for me. Beowulf is painted as the good guy. He has defeated monsters who wanted to destroy and cause harm to his allies. He selflessly defended the people in harms way and proved himself to be a very boastful but trustworthy and powerful man, capable of great deeds. This righteousness ends here. For all of his good intent and earthly power, the serpent IS death. Wyrd comes for all men, and soon the king too must rest. Having delved deeper into this poem I decided a year and a half ago that I would create this kingly sword as it was before it met fate. I had learned the art of hearth melting from Ilya Alekseyev, Mark Green, Zeb, Deming, and Matt Venier among others. I chose to create steel by the light of the full moon every month for a year, and that was the steel I would use to craft this blade. I created low and high carbon material from wrought iron nails, old projects, failed experiments, artifacts, pieces given to my by friends, iron and steel made by great smiths, like Ric Furrer and Jeff Pringle. I ran a melt at Ashokan, and with the help of some of my closest friends, and some wonderful new ones, I made a special piece of material that forged from a 6 pound lump into a 4 foot long bar with only a single crack in it. I helped run a summer class and taught 10 high schoolers how to run a hearth (or three) and make steel. I made material with friends and teachers and the process became as important as the result. At the end of these 12 months though I had come to the end of the easy part, and now I had to actually make the blade. The most important question was what would the blade look like? clearly it needed to be beautiful, as a kings sword would have been. It needed to symbolize the story, like the hilt of the Giant’s sword tells the story of the flood and the demise of the giants, this sword would tell the story of Beowulf and his demise. Enter in the sword from Vehmaa. Featured in the end of Pierces book, Swords of the Viking Age, almost as an afterthought, this blade captivated me since I first bought the book months after starting down this path. This incredible blade features different patterns on each side of the blade as well as an overlaid serpent in the top third of one side. The blade is broken in the top third, separating the serpent. This immediately jumped out to me as being a sword Beowulf could have carried, and the broken serpent was almost too perfect a parallel. Only one smith has been foolhardy brave enough to attempt this blade, and it's none other than my great friend Jesus Hernandez. His incredible creation, and still my favorite sword on this planet can be seen here: With his incredible example out in front I had to try and give it my best! I forged the blade, running into minor issues here and there. The blade itself I consider to be a failure, and is a practice piece for next time. the largest thing I had forged from my own steel was a small seax for Matthew Berry who graciously agreed to do a rush job on making a hilt for this crazy project of mine. I had made much of the steel I used for the sword at Matt’s house over the last year and it was fitting to combine our skills to make a sword worthy of the legendary king. So without further ado, I give you Beowulf’s sword! Just kidding WIP first! This is a small bit of the material I had made and started to refine for this undertaking. The iron and steel pieces were refined differently with an eye for what would go where in the blade. I had close to 60 pounds of material refined for the blade when I was done prep, just to be on the safe side! The billets finished and ready for welding, The leftmost is the edge wrap and the other two are the two sorts of patterned bars found in the sword. I forge welded the serpent bar overtop of the twists on one side of the blade before welding the two sides together. I apologize I don't have many photos of this all as it was a frantic and busy couple of days. The two core pieces next to each other. The original sword had an iron core, but I chose to forgo the added complication. Here the edge is wrapped and welded. It was much harder with home made material than it ever has been for me in modern steel. I'm not sure wether that was due to different expectations in workability or what. The tip weld was nearly the breaking point when I thought I had failed. Some of the pattern peeking through in the scale as I forged the fuller. The original had an iron inlay which was hard to make out. Mikko Moilanen was incredibly generous with his research and has some information on this piece in his dissertation. Skip forward a few crazy minutes and you get to the final moment. The blade was quenched in water and survived! The moon steel sword had hardened nicely. During grinding the blades edges sparked similarly to 1095 or w2 which was a huge surprise as I had never made home made steel that nice before. All of you here know the arduous process that is hand polishing. I wish I had ground it perfectly to 400 grit and polished 320 400 and then 600 and called it a day, but I don't use jigs or fixtures or whatever so I relied on free handing the rest of the geometries. This is scary and also not fun. I ground the blade near sharp at 36 grit and left it there, and polished by hand the rest of the way. This was awful, but worth it, because when I was done and left the blade in the ferric I saw something that made the years work worth it. I had finished the blade but any good blade needs a handle! I contacted my friend Matt and asked if he would be willing to make the fittings for the blade. He agreed and I sent him a photo that was included in a huge set of files from the National Museum of Sweden that he had previously sent me. The museum took wonderful photos of the sword from Vallstenarum. This was the hilt I wanted for my sword and so Matt created beautiful waxes based exactly on the original. The hilt is from a burial in Gotland and features a fabricated and rather botched ring assembly that was certainly not original to the sword. Matt began carving and in an unimaginably small amount of time was able to craft all of the parts needed for the sword and cast them. I went over to his house and we began fitting, drilling, filing, polishing, and assembling all of the parts. We did a huge amount of work and then I took most of the grip home to create the wooden components while Matt finished the pommel assembly. I carved the wooden grip and when I came back a few days later, we spent an afternoon finishing the sword. I had crafted a makeshift sheath which turned out to be hugely helpful in letting us hold the sword for finishing I brought the sword home and began finishing the sheath and the small details so that it would be ready for my gallery show. I forgot to mention I also put together a gallery show for my thesis! That was a lot of work. I had a small space that I filled with several swords and photos on the walls, and cases full of work and some artifacts. I'm sure you guys will recognize some of the pieces! I had to do a loooooot of borrowing to have enough to show I had a case full of some kitchen knives and miscellaneous pieces as well as a belt made with Matt's castings and some artifacts and the pieces they inspired. The center piece! A bit of a story board. A hammer made by Ilya, the one I use for everything along with some parts of the process. Admiring the work! The turn out for the show was far greater than I had anticipated, and it was a huge amount of fun to see so many familiar faces all in the same place. Thank you to everyone here who has inspired me to undertake this journeying to the people who made it possible, both with help researching and experimenting and with distractions or encouragement. Now my hands are starting to itch again, time to get busy!