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Jacob Cashion

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About Jacob Cashion

  • Birthday June 14

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  • Location
    Fairview, Tennessee
  • Interests
    Too many

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  1. Hey all, Long time since I last posted here, and a (mercifully much shorter) long time since my day job and the hot summer have given me a chance to be in the shop. Well, I'm taking a vacation next week and starting a big personal project on Saturday to celebrate: A Pattern-Welded Viking Sword! The structure of the blade will be historically accurate, though I'm taking liberties with the pattern. The plan: my 30.5" long, 2" wide blade (tapers to ~75%) will be constructed from 5 billets - a central crushed W's billet and 4 twisted (2 clockwise, 2 counter), whi
  2. I didn't get to spend as much time as I wanted to in the shop this weekend, but was still able to build a fullering swage [made of 3/4" diameter 52100, foreground], and finished restoring my great-grandfather's anvil [background, 250 lbs, manufacturer unknown, markings worn away] to working condition. Three quarters of the near edge had been chipped and dented up to 1/2 an inch deep. Ground it all down to 45 degrees and built it back up with 7018 rods.
  3. Holy Mother of God these are incredible. This is truly humbling. This is on my list to learn how to do, if I can only figure it out.
  4. Thanks Alan, you always give good advice! I admit I had some doubts about drawing it down further, but I haven't found any books [that I can currently afford] that discuss the relative dimensions of ancient weapons. I'm going for a sort of Roman-inspired shape, but the plan for right now, and it might be a mistake, is to fuller it for about two-thirds of its length. But then, learning is all about risking mistakes.
  5. So, I like to bite off more than I can chew; it's one of the fastest ways for me to learn [by making opportunities for more mistakes], and a fresh challenge inspires me to work harder. I'm still mastering some of my patterns for pattern welding, still working on fine tuning some of my work at the grinder, and very much over-involved in grad school, but to heck with it. I'm going to make a sword, just to prove to myself that I can. Let the upskilling commence!! This is going to be a single-handed, double edged short* sword [probably]. I started with a 12 inch section of salvage
  6. I'm still relatively new to blade making, and I sometimes, mostly on wider blades like chef's knives, have a problem with what is discussed here regarding the angle of the blade heel. When I'm doing the final grind, everything will be going smoothly and then suddenly I realize the heel has ground down way too fast and is now at a different angle to the rest of the edge. [Not too proud to admit it, definitely too proud to market it without re-profiling the whole edge.] Does anyone here have a good tip for preventing this [other than "pay more attention", please, 'cause there is already to
  7. I agree with Bill, definitely look at Coal Iron Works. I have their 16+ model, and it's the best investment I ever made in my shop. The standard 16 ton model is plenty good for most work though, and half the price of an Anyang. I can easily forge down a 2 & 1/2" thick billet to 1/2" in 2 or 3 heats (though I typically take 4 or 5 to keep the layers even).
  8. Just finished this knife, it'll be going to its new home tomorrow. Really thankful for this sale, this is the first blade I've sold since quarantine hit. Materials are 15N20 with African Padauk handle. The sheath came out pretty well considering it's been 5 years since I worked with leather.
  9. Got this blade tempered, final ground and etched yesterday. It's a crushed W's billet that I laddered and then drew out widthwise. My friends and family have requested that I dub the pattern "Reaper Damascus". Materials are 1080 and 15N20; I'll be putting black paper micarta scales on the handle today.
  10. On this blade I did two 14 minute immersions in 3:1 water:ferric chloride, neutralized in a saturated solution of baking soda and rinsed under the faucet between the two etches. The blade was at 2000 grit mirror finish when it went into the etch. After the second time in the ferric, I lightly hand polished with 2000 grit polishing paper, wiped with isopropyl alcohol, and let it soak in black coffee (this was my first coffee etch, and as a non-coffee drinker I don't know the difference between regular and instant) for 4 hours. Then neutralized in baking soda solution and rinsed in the sink.
  11. This is a 300ish layer "Pool and Eye" Damascus chef's knife I made last week for my own use. It's the first chef's knife I have done. I think it looks kind of washed out, like it needs a lower layer count to pop. Thoughts? Materials are 1080 & 15N20 with a paper micarta handle. Etched twice in ferric chloride and once in black coffee. It features a (poorly executed) San Mai using an extra layer of 1080 to make up for my miscalculating the material removed in patterning.
  12. Finished these Damascus letter openers before I went to work this morning. They were forged from the same bar of 54 layer twist. Materials are 1080 and 15n20; one handle is redheart, the other katalox. opener2 openers
  13. Heard back from Admiral, apparently they only stock 9260 when 5160 runs out, and they haven't updated the site. Their reply: "Those sizes should read 5160. Occasionally we have to substitute 9260 if the mill isn’t running 5160 (I understand it’s the European equivalent in terms of spec)- and sometimes it takes a little longer to get the site updated." Where have you found 9260?
  14. They don't have it in their catalog, but in the online store under 5160 two of the listings actually say 9260. I've got an email in to them to make sure that's accurate, hopefully will hear back sometime tomorrow.
  15. Thanks for the endorsement on the 9260, and for the pointers on high alloy combinations! Pretty obvious that I'm still a rookie when it comes to "exotics" if I can't remember to compare HT specs, hehe. And for the contrasting layers yeah, I almost always use 15n20 with 1080. Lately I've just been musing about the possibility of other alloy differences to produce contrast.
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