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Emiliano Carrillo

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Emiliano Carrillo last won the day on August 28

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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. 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?
  2. 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!
  3. 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!
  4. 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...
  5. 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!
  6. 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
  7. 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!
  8. 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!
  9. 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!
  10. 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!
  11. 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
  12. 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
  13. 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!
  14. 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
  15. 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!
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