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Aiden CC

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Everything posted by Aiden CC

  1. Thanks for trying that out, Alan! The checkering file pattern looks nice in it's own right, and I think especially could with some color, but agree that it isn't quite right. One thing that came to mind for me is the filemarks on the tangs of Japanese swords, maybe its the angle, but when I have a chance I'll give that a shot using the corner of one of my soft-metalwork files which are the sharpest ones I have. With stuff like this sometimes I feel torn between capturing the exact look of a design and it's purpose and character, which in this case, at least originally, was partiall
  2. I have been doing some significant shop reorganization recently and for the first time in a year I actually have a real work bench, which other than the obvious improvements (my vise is no longer clamped to a portable welding table!) means that I have space for a cheap table top bandsaw which I’ve wanted to get for a long time. I went out and got one and I wish I had done this earlier! I mostly did this because I have a ton of full tang projects coming up and can save a lot of money by making my own scales, and a lot of time doing so with a powered saw. However, it’s also nice for
  3. I didn't realize that meat cutting blades were so coarse! I guess it makes sense though since they are cutting fairly soft material. The idea crossed my mind, but I figured the teeth would be more hack-saw like because I wasn't thinking about the bone being softer when it's green. I tend to hit it off better with fishmongers than butchers (not sure if its them or me ), but I may see what I can do! I don't know that much about butchery, but it seems like not every butcher (especially at a counter in a grocery store etc) would have a whole femur on hand, as it seems like you would have to be wor
  4. Thanks for the replies! Alan: would tooth size also be important? Some hacksaws have a large-ish set but small teeth while something like a bow saw (though I can’t say I would want to chew mine up one bone) also has much larger teeth. I can also see it being a pain to keep flat as you said. Don: nice find! I’ve bought from them before but I hadn’t noticed that. I may reach out to them as well, though those scales look pretty nice and I think I could make two scales from one of those for shorter or narrower knives. Gerhard: textured scales were a challenge for me f
  5. I have been reading up and getting materials to get back into making slip joints and one material from older knives that caught my eye is saw cut bone, which as I understand comes from a tradition of inexpensive knives (Barlows in particular it seems) having handle scales (or "covers") with the as-sawn surface left on the exposed side for ease of manufacture and maybe grip. I think that this pattern has a lot of character, especially when dyed, so I have been looking around for some without any success. Does anyone have an idea of where I might find some (or bone that has been sawn
  6. Thank you everyone for the good suggestions. Joshua: I'll give those methods a try, the nail polish one in particular seems neat. While looking at people showing how they do museum/heirloom fit's I've seen tape used to create a height difference for guards and bolsters and nail polish seems much more doable for a thin full tang. Also, am I correct in thinking that you could leave the squeeze out from gluing around the sides and just grind it off on the way to the nail polish? Pieter: That's a nice looking knife! Do you do most of the contouring before gluing as well? I
  7. Thanks Alan, I wasn't quite sure what to call this so a name is definitely helpful. I'll take a look around.
  8. To preface this, this issue has come up because I live in a place where the humidity is radically different throughout the year and is on average a fair bit lower than the places I usually buy wood from. This means that shrinkage of handle wood is sort of a given for me, especially for knives made in the summer. On hidden tang knives, which comprise most of what I make, this is pretty much a non issue. For full tang knives, on the other hand, this can leave sharp corners exposed as a handle shrinks even a miniscule amount over time. Some woods have been better for this than others (guanacaste
  9. Thanks for all of the replies! Beech was my only guess too, but I thought they were a little dark for that so I’m glad to have some more input. Some of the lumber yards nearby stock it so I should be able to get a board for cheap. I’ve mostly seen beech on screwdriver handles and spoons, where it seems very bright and a bit sterile. Maybe linseed oil could make it somewhat darker/warmer (if that would be safe for a kitchen knife)? Coincidentally, I’ve also been looking for Chilean lenga wood, which was originally translated for me as birch, but may be better translated as beech. It
  10. I’m not sure if this the right forum for this question, but I’m not sure where else it would fit. I enjoy making kitchen knives based on older examples and have ended up with a small collection of them. There are a few with a quite charming wood for the handle that I would love to try out but I’m not quite sure what it is. This is a paring knife from an estate sale of unknown age and provenance because the blade has been sharpened back past any markings. A few years ago Alan pointed out its resemblance to an Old Chicago model, so it may be that.
  11. That makes sense about straightening and the second temper, thanks Jerrod. It's possible I've gotten away with it in the past because I've mostly been doing minor adjustments to thinner knives, primarily in 80crv2. I had hoped to make a new batch of knives with this steel and try out the suggested changes, but it may have to wait a bit. If I remember I'll post the results here.
  12. Thanks everyone! Gary, some of the blades were briefly at a welding heat when I forged welded a mild steel tip onto the tang, but I think I had pretty good temperature control after that. Last few heats were lower but only for straightening before normalizing. Here is the grain in the break. The dark section is oil that got into a crack in the quench, it's hard to see in the photo, but it isn't oxide from being open at temperature, it has a wet appearance and slowly spread over time. Jerrod, I'll try out normalizing in a furnace instead of the forge to make
  13. Thanks Jerrod. I'll take a look around for hamon micrographs, that seems interesting. I took these micrographs a few years ago of a piece of 5160 ish steel that been "quenched" by aggressive forging and seems to have a mixed phase microstructure. Is this something like what you would see in the transition region with intermediate cooling rates? Apologies for the blurry images, my polishing wasn't the best so these were not as flat as they could have been. Outer surface is down in the first photo. That makes sense about being brittle/not. I've been reading some of
  14. I recently decided to try out this steel, sometimes referred to as "silver steel," for some puukkos and I've had some problems with cracking. There isn't too much info (at least that I can find) about heat treating it, so I figured I would see if anyone has used it or has any insights. Here is the process based on what I have been able to find and my results so far: -Forge to shape -Normalize once "by eye" in the forge, air cool (well, technically in sand but just the tip to hold the blade upright) -Grind to 60 grit (maybe this is too coarse? These knives are zero ground
  15. Thanks everyone! I didn't know that, Alan. If I recall, that's the rough era these knives and the Finnish/Siberian knives with tin were made as well. Just like there are trends in knife making that spread far and wide now, it seems there were back then as well (narrow fullers are one that come to mind). Plumbing solder seems like a good idea, not sure why I didn't think of that! The word in the guides I found translates either as "tin" or "pewter" which I guess is what led me to pick that alloy. I tried cardstock under the tape, but for whatever reason it let the liquid metal flow
  16. Thanks for the reply Jerrod, that all makes sense. I didn't realize that's what the actual "line" of a hamon was, but it makes sense. Is it essentially a region where the cooling rate is right on the "nose" and the austenite becomes martensite in some places and cementite/ferrite in others? I've wanted to do metallography on differentially hardened samples but it was one of those projects I never got around to. When you say a lack of brittleness, does that essentially mean that there is at least some yielding before fracture? What being "tough" or "brittle" means for a knife is still something
  17. It might be kind of an odd question, and maybe I've been reading too much about high strength sheet steel as of late, but is there any kind of utility for dual phase heat steel (i.e. a blend of martensite and ferrite) in knife making? The edge of a knife needs the high yield strength and hardness you get from a quenched and tempered martensitic steel, but with differential hardening/tempering and composite blades using several types of steel there is certainly effort to maintain some ductility in the bulk of knives in some situations. Because the temperature to get full austenization varies wi
  18. This one of my more interesting (at least to me) recent projects. It's a gift for someone who was born and raised on a farm in (then) Czechoslovakia in the first half of the 20th century which got me into learning about some of the knife styles from the area throughout history. I settled on the Pastiersky Nož (shepherd's knife), which in silhouette looks pretty standard but is adorned with ornate tin alloy decorations. I had previously seen these on knives from Siberia and Finland but didn't quite get how they were made. Luckily, I personally know a number of native Slovak (an by extension mor
  19. Ditto to what Alan said. Walter Sorrels uses stones for the beginning of his hybrid polishing and in his DVD about it shows off a standing polishing setup that seems to be ergonomic and manage the water/slurry from the stones pretty well. I'm sure you can see it in some of his youtube videos too, his yanagiba video comes to mind.
  20. +1 to the daily use point, a good kitchen knife can have a big impact! It would take a lot to get me to hand sand a chef knife though, once I found a machine finish process I liked I never looked back. Actually, maybe that’s why I don’t mind making kitchen knives .
  21. Kitchen knives are fun if you let yourself have fun with them! Granted, you can’t always do that with commissions, etc. It helps me personally to mix a few “peculiar” specimens in when I do a bunch of kitchen knives. Looking good!
  22. Thanks, Joshua! This project is definitely more marathon than sprint. It takes quite a bit to amass a big bar if this stuff! Luckily, I think I’m really getting the hearth operation down. It saves a ton of charcoal to do consecutive burns, but things overheated a bit with the second run and made what looks cast iron (left to right is the order of the runs). Run 1 (5.0 V) created poorly consolidated high carbon steel, run 2 (4.5 V) created cast iron I believe, and run 3 (3.5 V) made well consolidated steel with perhaps less carbon than round 1. I hope to start consolidating tomo
  23. Thanks everyone, I'm glad I'm not the only person interested in these! As some of you have noticed these are almost paradoxical knives. Like Brian mentioned, Japanese kitchen knives are often meant to be very well tuned to a specific task and often quite delicate. Debas are so different because they are meant for a task that requires two very different things from a knife, essentially a cleaver with a fillet knife cut into the end of it. There are thinner debas for just filleting and funayuki which are basically a deba thin enough to cut vegetables (meant as as an all purpose knife for fisherm
  24. This is an extreme example of what I am talking about. This is one of my knives after 10 months of use by someone less careful with carbon steel than me. It looked the same as the above knife finish wise out of my shop.
  25. Thanks Brian, with the finish my main concern is that the sanmai isn't really "shown off," although I have a number of my machine-finished knives in my kitchen and as they naturally patinate, they actually get etched by food and the layers become readily apparent, which is kind of neat (hopefully pictures to come this evening). As for the undercut, it is for the former purpose. Because there was no dry fit with this, and no real way to get one of these ferrules off once it's most of the way down (ask me how I know ) I really didn't want that corner to get hung up 95% of the way dow
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