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Grant Saxman

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Grant Saxman last won the day on April 12 2018

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  1. Nice looking blade, especially for your first! For your heat treat, a 400 degree temper should bring your O1 to a good level of hardness for a kitchen blade. Ideally, your temper cycles should be longer than 1 hour (usually 2 hours), because 1 hour is the minimum amount of time required for tempering to fully resolve in most steels. And you should definitely be doing 2 tempering cycles for O1, your first tempering cycle will convert all martensite to tempered martensite, but upon cooling to room temperature (or lower), retained austenite in the blade will be converted to untempered martensite. A second tempering cycle is required to convert that untempered martensite to tempered martensite. As it stands, your knife likely has untempered martensite in it which can result in a reduction of desired mechanical properties.
  2. Straight razors are very technical blades. They 100% can be done entirely from damascus, if you are having the different layers react differently mechanically, then you most likely haven't gotten the heat treat down perfectly, or you did not allow enough time/heat for carbon migration (unlikely except in very low, thick layer billets). It's possible that the alloys you are using in Damascus aren't ideal, but i don't think that should be a big deal. I would also not underestimate the importance of the grind! Most makers use small wheels for a hollow grind that goes almost all the way to the spine. Just shaving arm hair easily won't be enough for a comfortable shave on the face. Most straight razor users sharpen up to at least 12k on stones and or use a strop (necessary if you are using lower grit stones). I would recommend buying some antique straight razors online (they are cheap) and spend a little time fixing them up and studying the geometry and figuring out what it takes to get a pre made one working on your own face. Then you can pretty easily transfer into making your own from scratch. That's what I did at least! Hope this helps, and honestly I think you're on the right track. That "failure" will definitely be indispensable as a tool for learning! The other blades look great as well!
  3. Has the black palm been stabilized? I personally would never use that stuff without stabilizing it first. Even when stabilized it is a pain to work with. Make sure to watch out for warping as well, I've had a lot of issues with some of my stock warping in moisture and temperature changes, occasionally enough to break epoxy bonds on the handle. The knife looks great though, I really like the color scheme and am totally digging the bolster, nice execution there.
  4. Looks to me like there's some carbon migration there that's causing the halo. Same kind of effect that you get on stainless san mai if you hold it at high temp for long enough. This theory is supported by the fact that the halo is widest and most visible on the outside of the rods where they are touching all that high carbon steel, but not so much on the inside where they are touching each other and there isn't so much of a carbon concentration gradient. Very cool! And the blade looks absolutely stunning right now, that's a brilliant pattern, can't wait to see it finished!
  5. That's good to hear. I've got an idea for a themed yari that I wanna try out over the summer, and it uses inlay pretty extensively
  6. Hi everyone! I'd like to show you a project I've been working on and off on since the end of summer. It's not a knife, but I originally started this project in order to learn inlay techniques that I would then be able to carry over and use on knives. I figured I might as well start with a massive project and then get some tips and feedback from the very talented makers who frequent this forum. The project itself is a custom mahjong table. For those of you have never played or heard of the game before, it's a tile based game that originated in China. My friends and I play a Japanese branch of the game known as Riichi (slightly more complicated than Chinese mahjong, but far less luck based). Basically, players take turns drawing tiles from walls that are built at the start of the hand, and try to create a strong winning hand without discarding into an opponents hand. It feels kind of like poker I guess, haha. Anyway, the goal for this project was to have a table that could seat 4 people and have koi pond themed inlay that also function as place holders for certain parts of the game. The main body of the table is made of black walnut saved from the wood chipper. The inlay is made from dyed epoxy, shell, and various species of wood, and is comprised of approximately 220 pieces. To start, I created a flat tabletop from walnut, and squared it to the proper dimensions on a miter saw and table saw. Then, I turned the legs on a friend's lathe (which was a great experience! It really made me want to get a machine of my own, it seems like there is so much you can do with them). I drew all the inlay components on paper, cut them up and glued them onto different wood/shell veneers I had milled. All the pieces were then cut out with a jewelers saw and taped back together before being outlined on the tabletop. I then used a router set to the thickness of the veneers to remove the wood inside the outlines. Afterwards, the pieces were all glued in place with dyed epoxy and belt sanded flat. I sanded the table up to 400 grit and affixed the legs and trim. Finally, a few coats of oil based satin polyurethane was applied to protect the surface and bring out the color in the wood. Here is my name signed in katakana and English. The katakana was routed and filled with colored epoxy. For the English signature, I used an engraver and filled it with colored epoxy. It somehow ended up about 3 degrees off square which really annoys me... Here is one of the four lily pad areas. They are made fro birdseye maple and brown epoxy. The black right angle inlays are made from black epoxy and denote where each player discards their tiles. Here is one of the four bamboo pieces that denote where the walls get placed at the beginning of the game. It is made from black limba and birdseye maple. In the center is a large compass rose made from wenge, birdseye maple, and bubinga. There are three koi fish on the corners based on the dragon tiles in the game. This one is based on the green dragon tile. It is made from green paua abalone and black mother of pearl accents. This fish is based on the red dragon tile and is made of padauk with bubinga accents. Here is the koi fish based on the white dragon tile. It is made from white mother of pearl over black epoxy. The three koi fish swim in the direction of play and also are in the order of dora indication (which is an odd mechanic only in Riichi mahjong). The top of the table has a trim that allows player to snap open melds to the side easily. It also stops tiles from falling off during shuffling! The lathed legs and underside trim. Let me know what you think! I'd greatly appreciate if anybody has any inlay advice or comments on what I could have done better. If anyone who does a lot of inlay could list off some of their favorite and most useful tools for inlay, that would be great as well! Oh, and I'm also wondering what other uses for engravers there are. I got the engraver I used for this project at a garage sale, it's an older dremel model equipped with a blunt cone/pen tip. Can I use something like this for engraving on knives and other metals? Anyways, thanks for looking, let me know what you all think. -Grant
  7. Thanks for the input Steve. The handle was a bit hard because it's not a very typical handle and I didn't have anything to really model it after, so I just drafted it up on paper as best I could and went from there. But I can definitely see what you mean. And the wood is definitely one of the coolest pieces i've ever used! Visually, it looks like it would be really rough, but the stabilization allows it to be polished up like a stone. I chose a piece without too much spalting because I didn't want it to be too busy, but I've seen some pieces of jatoba before with some of the craziest spalting you'll ever see!
  8. Thanks for your input, I appreciate it. I didn't end up making a sheath, once I finished the blade I was trying to decide whether or not to do a stand or a sheath, and I ended up going with the stand because I thought it would be unlikely for someone to carry a long dagger like this around their belt. Although it is 100% functional, it just seems more like a display knife than something you'd carry around, and stands like this are pretty often used for double edged daggers. It also helps that if, in the future, I decide it needs a sheath I can still make one for it!
  9. Hello everyone, I am very excited to show you my latest knife! This one is an Eastern fusion dagger. I took a very Western blade style, the double edged dagger, and used a variety of Eastern techniques and materials to give a unique spin on a traditional blade. Hope you enjoy! First, a little bit of info on the blade:The blade is hand forged out of W-2 and was differentially quenched with clay, leaving a subtle, icy hamon down its length. The habaki and guard are made from nickel-copper mokume gane, hand forged by me, ~36 layers. The habaki has a bias ground pattern and the guard has a very tight raindrop pattern. Both the guard and habaki were patinated in liver of sulfur and then brushed with high grit sandpaper for a rustic black, orange, and silver finish. Behind the guard, there is a wrought iron spacer that has been blackened. The handle is spalted jatoba burl stabilized by K&G. Its color ranges from tan to a deep orange brown with vibrant black spalting, it matches the mokume and wrought iron very well. The tang itself is a through-tang, and is peened over a mokume gane spacer and an inlayed piece of wrought iron. I also made a nice vertical stand for the blade. The base is made from curly spalted maple and features a live edge on the back. On the top is a decorative copper piece with a naturally aged patina, and a small piece of inlayed black leather for the tip of the dagger to rest firmly and safely in. The pole holding the dagger is hand forged wrought iron, I forged it square, twisted it, and hot cut it to form a small nook for the handle of the blade to sit in, before seating it securely in the base.Now for the stats:OAL: ~13.25"Blade Length: Just Over 8"Blade Width: Just Under 1" at its Widest PointBlade Thickness: ~.25" w/ a Distal Taper in Both DirectionsBlade Steel: Differentially Quenched W-2Handle Materials: Nickel-Copper Mokume Gane, Wrought Iron, Stabilized Spalted Jatoba BurlStand Dimensions: 5"x8.5"x10.5" (WidthxDepthxHeight)Stand Materials: Curly Spalted Maple, Black Leather, Copper, Wrought IronNow for some pictures (I apologize for the poor quality, photography is not my strong suit ):I'm not a super well known maker, but I like doing these challenging, creative builds to help increase my skill and hopefully get my name out there. In the interest of improving, let me know what you think! I can take criticism pretty well, so don't hold back. If you have any questions about the build feel free to ask down below as well Thanks for looking,-Grant
  10. Yes, keep in mind scotch bright is an abrasive - wood is not. Think of it like this: you start sharpening a knife on stones, working your way up in grit. 1000 grit, 4000 grit, and then a 6000 grit hone. After this the blade has a great edge, but you then proceed to finish honing on a 500 grit stone. The sharpness of the edge will now reflect that last 500 grit stone you used, despite having honed on a 6000 grit stone prior to that. That scotch bright pad is no different from a low grit stone, it will abrade and alter your edge. Wood, on the other hand, is not particularly abrasive and will not negatively affect your edge unless it causes some sort of physical deformation, whether that be plastic in nature (rolling or smushing) or brittle (chipping/cracking). In general this isn't a problem though because your blade is behaving in a manner that is ideal for knives, which is elastically.
  11. I oil every time I use my knives or when they get wet. Takes about 10 seconds, stick a finger or napkin into your oil and wipe a light film over the surface of the blade. Oil the handle every 2-4 weeks (if it is a handle that requires oil of course) Any patina on the blade will help stop corrosion because it essentially passifies the metal (creates a more stable outer surface covering the less stable metal beneath). Be careful with etching, depending on the concentration, time etched, and type of acid, it may remove that nice brute de forge finish. A minute or two in dilute ferric chloride should be fine, but watch it doesn't get on your handle. And having an etch doesn't make it corrosion proof - just slightly more resistant to corrosion - so make sure you still take proper care of the blade! All in all, that light patina isn't a big deal, I wouldn't worry about it too much. Hope this helps!
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