Mike Haskew, Author at BLADE Magazine

Best Custom Hunting Knives: Is There A Consensus?

Mike Haskew

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September 18, 2024

Best Custom Hunting Knives: Is There A Consensus?

Top knife observers decipher the best custom huntering knives ever made.

It’s an ongoing discussion, or maybe a debate, slightly contentious but always cordial. When the question is pondered regarding who made the best custom hunting knives ever, a few names quickly come to mind.

Of course, there is no right or wrong answer. It’s a matter of interpretation, fit and finish, design, form and function, and the feel of the knife in the hand when it’s time to get down to the business of skinning and dressing game. Each respected and well-traveled knifemaker and observer consulted below can tell the stories that back up his top few. But in the end there is no doubt. Each of these revered custom makers and/or bladesmiths has got game. It’s proven in their work.

Bruce Voyles’ Take

BLADE Magazine Cutlery Hall-of-Fame® member and knife auctioneer Bruce Voyles accompanied his fellow Cutlery Hall of Famer, the legendary George Herron, on a few hunting trips and experienced his work in the field.

George Herron' Model 6 and Model 3 skinners — Among the top hunting knives BLADE Magazine Cutlery Hall-of-Fame® member George Herron made are the Model 6 (top) and the Model 3 skinner, aka Little Dude (bottom). The Model 6 sports a 4-inch blade and 9-inch overall length. Blade and overall lengths for the Little Dude: 2.75 and 6.75 inches. Respective blade steel, handle material and construction on each knife are ATS-34 stainless, curly maple and tapered tang. (Jay Mealing knife image)

“George was a fantastic hunter,” Bruce remembered. “When a group of us would go with him, we might kill three deer in a four-day morning and afternoon hunt, but he could get eight if he wanted to.”

Bruce tells the story of an Outdoor Writers Association hunt Herron organized after an invitation from a South Carolina country gentleman that George had helped change a tire. It seems the man owned a large tract of land, and in return for Herron’s kindness he was allowed to hunt deer on the property.

“When we got to that plantation, every guide there was carrying a George Herron knife,” Bruce commented. “The thing about George’s knives is that when you held one and used it, you were using a knife made by a man who had been there. He made tremendous skinning knives, and the balance and feel in the hand are unsurpassed. The balance, shape of the handle, and minor nuances of the tilt of the blade, its thinness, and the tapered tang set Herron knives apart.”

Bill Moran’s engraved gentleman’s hunter — According to BLADE Magazine Cutlery Hall-of-Fame® member Bruce Voyles, the knives of Cutlery Hall-of-Famer Bill Moran feel like an extension of your hand. Mr. Moran’s engraved gentleman’s hunter in damascus and with one of his iconic moon logo sheaths is representative of Bruce’s sentiment. (Eric Eggly/PointSeven image)

According to Voyles, the knives of Herron, Jerry Fisk and Cutlery Hall-of-Famer Bill Moran feel like an extension of the hand. Herron also made knives that were affordable for a hunter to purchase. Since he put many knives in the hunters’ hands because of a reasonable price point, the praise of his work in the shop spread far and wide. Today, there are several quality custom knifemakers contending for recognition, and they include Ralph Smith, Larry Page and Wayne Hendrix to name just a trio, Bruce says.

“Wayne was one of the guys who trained in George’s shop, and while we were hunting he had his own shop set up on the grounds making knives to sell directly to hunters,” he noted. “He was a guide in South Carolina and approaches making hunting knives the same way George did. He’s the closest to George’s knives now.”

Jim Sornberger’s Take

Cutlery Hall-of-Fame knifemaker Jim Sornberger remembers the days years ago when names such as Harry Morseth and Cutlery Hall-of-Famers Bo Randall and Rudy Ruana were synonymous with excellence in hunting knife craftsmanship. He also mentions the fine work of Corbet Sigman and other contemporaries of the 1960s and ’70s.

A.G. Russell made Herry Morseth designed Model 1 — “The first new model A.G. Russell made when he acquired Morseth Knives from Harry Morseth was the Model 1, also known as the Ozark Hunter,” Tom Krein noted. “It is a drop-point camp and hunting knife with a 3.5-inch blade, hidden tang, nice guard, and thin-shaped Micarta® handle that make the knife extremely light.” This version sports a stacked leather and fiber spacer handle with a stag butt. (Nordic Knives image)

“It goes back to when I was a kid and my uncle had a gun store in Redding, California,” Jim said. “Those names were famous, and I met Harry Morseth in the ’50s. His Cascade Skinner was my favorite hunting knife for many years with a great handle shape in leather or stag for a good grip and a guard, which is really important in a good hunting knife because you’ve got to hang onto an animal or fish if you’re working and you can’t afford to have the knife slip in your hand. The blades were laminated Brusletto steel from Norway, and the knives came with a safety sheath. Mine was copper-lined leather in the shape of the knife, and later models had a fiber material liner inside.”

Sornberger also mentions Cutlery Hall-of-Famer Gil Hibben, Ruffin Johnson and Clay Gault as makers of outstanding hunting knives. However, trying to identify custom makers that are in that rarefied air with the masters these days requires some reflection. “It’s tough because a lot of guys follow trends nowadays and they find it’s cheaper and faster to make a knife without a guard,” he opined. “Randy Lee has been around a long time and still makes a lot of good using knives. Dave Pitt in Redding, California, does as well, and that’s hunting country. Randy has a stubby little hunter with a 3.25-inch blade and nice guard, and that’s plenty of knife for most hunting applications.”

Tom Krein’s Take

Veteran knifemaker Tom Krein is upfront with his thoughts on the best maker of hunting knives.

“I actually worked for Bob Dozier and A.G. Russell from the mid-1990s to 2001, and honestly this is a tough one. We all use hunting knives differently in the field and for different things, but I would put Bob Dozier forward. He grew up hunting in the bayous and providing for his family, [and] he has a lot of experience making knives. He is an exceptional craftsman, and in the 1980s I feel one of the pioneers in the style of distilling everything down to make hunting knives easier to make and get them in everybody’s hands.”

Award-winning bladesmith Jerry Fisk’s Sendero hunter served as Tom Krein’s inspiration to make knives. (Eric Eggly/PointSeven image)

Krein likes the reasonable price point of a Dozier hunting knife and the attributes that characterize the maker’s outstanding work: a full tang, thinly ground blade, Micarta® handle, and often a Kydex sheath system for safety. “Dozier’s knives check all my boxes,” he related. “The Dozier Personal with a 2-inch blade works great on game, and an investment of $300 will get you a fine Dozier knife.”

Tom also has seen the Morseth line continue with A.G Russell and has tremendous respect for the maker’s legacy. “The first new model A.G. made when he acquired Morseth Knives from Harry was the Model 1, also known as the Ozark Hunter,” Krein noted. “It is a drop-point camp and hunting knife with a 3.5-inch blade, hidden tang, nice guard, and thin-shaped Micarta® handle that make the knife extremely light.”

Tom tips his hat to custom knifemaker Brian Goode, whose hunters and skinners are gaining notice, while he also acknowledges the great work of Jerry Fisk, whose Sendero served as Krein’s own inspiration to begin making knives. And then there’s the geometry and thinness of the blade in ABS master smith James Rodebaugh’s hunting knives that Krein calls “beautiful work.”

James Rodebaugh’s Take

Speaking of Rodebaugh, his thoughts on the best maker of hunting knives include George Herron, whose work he describes as “superb,” and two more greats, D. E. Henry and Cutlery Hall-of-Famer Jimmy Lile. “The first knife I ever owned was a Lile hunter, and he made one heck of a hunting knife,” James remarked. “That knife was my primary hunter before I even started making knives, and it did all I ever asked of it.”

ABS master smith James Rodebaugh is high on the work of Missouri-based maker Jason Coy and ABS master smiths Jason Knight and Adam DesRosiers. Adam’s clip-point hunter in damascus and stag is a stunner. (SharpByCoop image)

According to Rodebaugh, edge geometry is critical in a hunting knife, along with the design and profile of the handle and proper Rockwell hardness. Each of these characteristics is essential, and the Lile knife was “about as perfect as I’ve ever held, and I’ve dressed well north of 300 animals, not counting small game.”

Rodebaugh’s own knives are reflections of his hunting experience. He has been lauded for the field performance of his Raised Swedge Hunter, which some refer to as a harpoon point, that was actually inspired by a Marble’s hunter design. He has been making the Outfitter hunting knife for about 15 years, forging the blades in batches of five with O1 tool steel hardened to a Rockwell of 60-61 HRC, and a Micarta handle with a palm swell for added comfort.

James has been impressed recently with the work of Missouri-based maker Jason Coy and ABS master smiths Adam DesRosiers and Jason Knight. “Jason saw my raised swedge years ago and asked to use it, and I said ‘absolutely!’ Nobody has probably designed a ‘new’ blade in the last 1,000 years or so. Adam has worked with it as well, and now everybody in the country produces that design feature.”

Of Course, Bob Loveless

The names of custom makers past and present conjure images of their outstanding hunting knives. But no story on the topic would be complete without mention of Cutlery Hall-of-Famer Bob Loveless. While some have said Loveless was a fine maker, some have also said his fit and finish were reasonably good—not great. Nonetheless, the thing about Loveless was his eye for design.

Randy Lee drop point hunting knife — According to BLADE Magazine Cutlery Hall-of-Fame® member Jim Sornberger, Randy Lee has been around a long time and still makes a lot of good using knives. An example is his drop point with an amber-spacer look reminiscent of the My Knife by BLADE Magazine Cutlery Hall-of-Fame® member D’ Holder, a pretty fair maker of hunting knives in his own right. (SharpByCoop image)

“Loveless went to design school,” Voyles explained. “He made a knife with eye appeal. It was different, and a lot of people don’t understand why, but it was the natural French curve. It was the design. People say Loveless made the perfect hunting knife because of the drop point, and to me it doesn’t work as good as one of George Herron’s knives.”

Sornberger knew Loveless well. “Bob was a good friend and signed for me to get into the Guild,” Jim began. “I think Bob found a universal handle shape that he used on all his knives, and it was a combination of a good kitchen knife and all with a guard except for a couple of models he made later on. All fit well in the hand. Bob got a lot of publicity. He could sell snow to Eskimos.”

Krein sees the Loveless drop point as iconic. “But there is a difference with the variance in game animals from squirrels to rabbits to deer, elk and moose. So best at what? I personally think the Loveless drop point is a fine design, but I wouldn’t take it into the woods,” he observed. “It’s just bigger than I like, and I like hidden tangs for hunting knives.”

Rodebaugh reminds that Loveless is a giant among custom knifemakers, and his hunters are noteworthy to say the least. “I met Bob many years ago and didn’t live far from him in California,” James recalled. “He made a good knife, and the drop point had a lot of impact on the industry, but contemporary with Bob were guys like Herron that produced excellent knives. Loveless made a solid working knife and took that to great heights through pretty good marketing, along with his popularizing of ATS-34 stainless blade steel.”

All hunters have a favorite knife, a trusted companion in the field that is handy, dependable, and built for the jobs encountered. While discussing the topic of just who might be the best custom maker of hunting knives is a never-ending exercise, suffice it to say that hunters are fortunate to find such steadfast companion tools when they are needed most.

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How Many Damascus Knives Did Bill Moran Make?

Mike Haskew

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August 5, 2024

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How Many Damascus Knives Did Bill Moran Make?

We talk with those who know Bill Moran best to determine how many damascus blades the godfather of the craft forged.

BLADE Magazine Cutlery Hall-of-Fame® member Bill Moran is and will forever be remembered as the father of modern damascus steel. He and a few early devotees popularized damascus during an era when the art of bladesmithing was an endangered species in the realm of the artisan.

Though Moran was partial to smoking a pipe, he liked an occasional stogie as well. (Pete Cohan knife image)

It was Moran who shocked the custom knife world in 1973 when he brought eight knives to The Knifemakers’ Guild Show in Kansas City, Missouri. Those historic eight sported blades of Moran’s damascus steel and they created a sensation. Cutlery Hall-of-Famer, longtime journalist and friend of Moran’s, and a respected member of the knife community, B. R. Hughes remembered how the event electrified those who attended.

This is the first damascus knife Moran ever made. He forged “No. 1” circa 1972. It was misplaced for 30 years until Nancy Hendrickson found it in Moran’s house. (Pete Cohan knife image)

“When my wife [Carolyn] and I drove up to the Muehlebach Hotel in Kansas City, a friend of mine came out and said, ‘You gotta get in there and see the damascus knives Moran has on his table.’ Those knives were the talk of the show. Bill also had mimeographed sheets that explained what damascus steel was and how it was made. He gave those sheets away to anyone who desired one.”

Moran made basic damascus knives. “They weren’t elaborate and this, that and the other thing, but most of them were for use,” B. R. Hughes noted. (Exquisiteknives.com image)

Three years later, Hughes joined Moran and bladesmiths Bill Bagwell and Don Hastings as the quartet that founded the American Bladesmith Society (ABS). When the ABS was founded in 1976, bladesmithing was on life support, and probably fewer than a dozen smiths were forging knives. Today, the Society includes more than 2,000 members and the future of the craft has been secured. Meanwhile, Moran deserves the credit as the catalyst for modern bladesmithing.

B. R. Hughes said Moran made some art daggers that “were a bit elaborate for the day.” An example is this large quillon dagger. (Exquisiteknives.com image)

How Many Damascus Knives Did Moran Make?

While there is no question that Moran and other dedicated disciples of the forged blade brought damascus and the ring of the hammer back to life in the early-to-mid-1970s, there is some conjecture as to just how many such knives the great Moran forged and completed himself. The thought of how many Moran damascus knives were made and exist today is tantalizing, and, of course, what’s a great legend without a bit of mystery and conjecture? Exploring Moran’s body of work and the damascus element within provides some insight into the man, the legend who padded about on the creaky floor of his Maryland shop, sometimes chewing tobacco, but rarely alone when his doors were open as crowds came to see the wizard work.

Back in the day, a Moran damascus knife was a challenge to own, considering the time Moran spent in his shop with the material actually able to work without the distraction of visitors, the many hours of labor required to produce a damascus billet, and the higher price for such a piece that naturally followed. (Exquisiteknives.com image)

Collectors such as Cutlery Hall-of-Famer Butch and Rita Winter bought the first of Moran’s damascus knives during that historic Guild Show more than a half-century ago, and, as Hughes relates, “Moran made basic damascus knives. Most of his were what folks would call ‘using’ knives. They weren’t elaborate and this, that, and the other thing, but most of them were for use. He did make some art daggers that I thought were a bit elaborate for the day.”

Hughes remembers that Moran himself was rather vague on the number of damascus knives he actually made. However, probably the best estimate is that fewer than 100 Moran damascus knives were made during a career that spanned more than 50 years.

“He liked the random pattern and the ladder pattern,” B. R. remembered, “and he could do some pretty good patterns, but it took a lot of time. He was very happy just making ladder pattern and stuff like that, and he continued making non-damascus knives and about 40 folders. When he was in his shop, there were always five or six locals in there talking to him and watching him work.” Agreed Cutlery Hall-of-Famer and ABS master smith Jay Hendrickson, a close friend of Moran for 30 years, “Bill had so many visitors to his shop on a daily basis that it is a wonder he ever got anything accomplished.”

According to Jay Hendrickson, Moran made all of his damascus in a coal fire. “All of Bill’s experiments were with coal, as gas forges were not popular at the time,” Jay explained. “In today’s world, gas forges are almost always used for damascus making because of adjustable temperature and the cleanliness of propane gas.” (vintage photo of Moran in his shop circa the 1960s)

Hendrickson served as the executor of Moran’s estate and founded the Moran Foundation to preserve the great bladesmith’s legacy, serving as its president for 10 years. Jay observed that Moran made a workingman’s knife with quality that was spot-on, though there may have been an occasional flaw in the solder on his early pieces. Nonetheless, Jay says, Bill’s knives always cut.

As for Moran’s damascus knife productivity, Hendrickson offered, “This is strictly a judgment call on my part, but I would say Bill made less than 100 damascus knives. I counted 36 in our Forever A Legend book. I only know a few people that own Bill’s damascus knives, but I think they are sold and traded often between collectors. You also see Bill’s damascus knives occasionally sold at auctions.”

Butch and Rita Winter bought this damascus quillon dagger from Bill Moran at the 1973 Knifemakers’ Guild Show where Moran introduced modern damascus knives. It was one of eight damascus knives Moran brought to the show. The tang is marked DAMASCUS in all uppercase letters. (image courtesy of Rita Winter)

Jay verifies the original sale of a Moran damascus quillon dagger and sheath to Butch and Rita Winter and adds a bit more information. “Rita Winter recently sold Bill’s first damascus dagger to Mr. Doug Hook, a Tennessee collector,” he commented. “Two years ago, I repaired one of the twisted wires on the handle for Mr. Hook. Because of that contact I was able to confirm the original purchase as Doug has written verification of the original sales transaction and the invoice.”

So where are the majority of Moran’s damascus treasures today? Longtime purveyor Dave Harvey of nordicknives.com is straightforward—“in collections around the world. Values vary and depend largely on the particular knife. But they are generally worth at least double that of [one of Moran’s straight carbon steel blades], sometimes even more.”

Dave Ellis said the first of the Moran damascus knives are quite valuable and guessed they would start at least at $10,000 and go up from there. Dave holds an early 1970s Moran damascus hunter at BLADE Show 2023.

Back in the day, a Moran damascus knife was a challenge to own, considering the time Moran spent in his shop with the material actually able to work without the distraction of visitors, the many hours of labor required to produce a damascus billet, and the higher price for such a piece that naturally followed. Dave Ellis of Exquisiteknives.com reasoned, “I could not say how many damascus knives Moran made in his lifetime, but certainly not a large number. Many of Moran’s damascus pieces reside in private collections, as well as the Moran Museum. I personally have owned and still own some and have sold a number of the finer pieces to overseas clients.

“I believe he made four or five patterns. Damascus steel was and still is a laborious process. Bill’s prices for his damascus knives were quite high for the time, so he made and sold mostly carbon steel pieces. Damascus was reserved for higher-end clientele and foreign dignitaries. A good number of the damascus knives were fighters and bowies. Damascus hunters were also made, many with Bill’s twist pattern steel, maidenhair. I do not know of any mosaic steel knives that Moran made. The first of the Moran damascus knives are quite valuable, and I would guess that they would start at least at $10,000 and go up from there.”

Along with Bill Bagwell and Don Hastings, Bill Moran (left) and B. R. Hughes (right) founded the American Bladesmith Society in 1976. Hughes is the only surviving founding member. (Buddy Thomason image)

HOW HE MADE THEM
Hendrickson is familiar with Moran’s most common damascus patterns, the maidenhair twist, ladder pattern and others. “He knew how to fuse metal, as he learned that technique working on equipment on the family farm,” Jay remarked. “On the farm he made knives from whatever he could get his hands on, old springs, files, and rasps, for example. He could also buy steel from a local hardware store in town. Bill also knew the difference between plain iron and high carbon steel. His first damascus experience began by using one piece of steel and one piece of iron. He welded the two together, drew it out and folded it many times.”

The process yielded insight for Moran, and he learned from experience. At times during the process of hammering and folding, he realized that the steel was absorbing heat quicker than the iron because it was on the outside of the billet. Therefore, he moved to one piece of iron with steel in the center, and then a second piece of iron, using O1 tool steel and a carbon mix of 33 percent. According to Jay, this combination gave the billet the right hardness without the need for tempering. Moran’s test of the finished knife was to carve wood for two hours with no loss to the cutting edge, and he was satisfied with the results using this mixture.

Moran’s test of the finished damascus knife was to carve wood for two hours with no loss to the cutting edge. An example is this clip-point model, again in a ladder pattern. (Exquisiteknives.com image)

“Bill made all of his damascus in a coal fire,” Hendrickson recalled. “A hot coal fire can melt steel as temperatures can reach over 2,700 degrees Fahrenheit, which is the melting point of steel. That is why Bill added iron to the outside of the billet, as iron is less apt to burn as quickly as steel. All of Bill’s experiments were with coal, as gas forges were not popular at the time. In today’s world, gas forges are almost always used for damascus making because of adjustable temperature and the cleanliness of propane gas. Therefore, the burning of steel to a great deal has been eliminated with the use of gas forges.”

Hendrickson attributes the relative scarcity of Moran damascus knives to the maker’s affinity for producing using knives, constraints on time and other factors. “Bill was truly a supporter of the art knife,” he noted, “and along with others they created that industry. Collectors were willing to pay big time for exceptionally well-made knives, and Bill, like other top-notch makers, profited as this industry took hold. However, Bill’s true passion was in using knives, such as camp knives, hunters and small utility knives, of which he made many. The vast majority of his knives came from customers wanting working knives.

A good number of Moran’s damascus knives were fighters and bowies, according to Dave Ellis. This classic ST-24 in ladder-pattern damascus and curly maple handle with fancy wire inlay is a favorite of Moran collectors. (Exquisiteknives.com image)

“Bill liked to experiment with damascus. For example, he would slip in an added piece of iron after many folds to gain toughness in the end product. Another example was where he completed a damascus billet to the desired number of welds. He then cut it in two and added a piece of high carbon steel to form the middle and welded the two damascus pieces on both sides of the high carbon steel. Once that was completed, Bill forged the billet into a knife. One might call the finished product a damascus san-mai. Bill liked the various patterns that were being developed beyond the more basic patterns that he originally developed. To Bill, mosaic knives were art knives, not to be used but just admired. He didn’t like the process of welding pieces together to make a knife. Remember, he was more into using knives where the grain within the steel followed the entire edge of the blade.”

Through the years, Moran became a legend, leaving a legacy of learning, teaching, giving information freely, and welcoming many to his shop. He paid tribute in steel to the wonder of damascus, the art knife and the using knife. Today’s body of bladesmiths still looks to him as the guiding light that led them to the glow of the forge and the spark of the hammer on hot steel. Those who own or admire the few damascus knives that Moran completed continue to do so for their beauty, their imagination, their rarity, and simply because they bear the touch of the master’s hand.

More On Knifemaking:

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STAINLESS DAMASCUS: CHALLENGES IN FORGING
STROPPING: WHAT IT IS AND HOW IT’S ACCOMPLISHED
DIY ENGRAVING VISE OR BLOCK

Karambits: EDC Options That Enforce The Claw

Buyer's Guides

Mike Haskew

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July 23, 2024

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Karambits: EDC Options That Enforce The Claw

Karambits continue to emerge as a viable EDC alternative.

The engineering is superb as the latest in karambits leverage the ever-popular “curve” appeal of the blade style. Materials, aesthetics and utilitarian aspects of this handy tool are getting noticed like crazy in the most recent offerings to hit the market. The karambit continues to emerge as a real, viable choice for everyday carry, and manufacturers are tuned into the possibilities.

According to knife designer Alessandra DeSantis, “Karambits are highly appreciated for cutting rope, cardboard and other utility tasks.” For more than a decade, Alessandra’s designs and perspective have influenced the marketplace, and the karambit is gaining momentum.

“Alessandra is the face of Hydra Design [hydra-design.it],” said Boker USA sales director Mike Gugliociello. “Her creations are characterized by a distinctive design that combines unique details with uncompromising functionality and high utility.”

Boker Plus HEL Karambit

The collaboration of Boker USA and DeSantis has produced the Boker Plus HEL Karambit. “The octagonal ring is a distinctive feature of Alessandra’s style,” Gugliociello noted. “Though some people may think that an octagonal ring can be annoying during the various knife [manipulation] tricks, actually the difference between an octagon and a circle is minimal, and with properly rounded corners and edges no discomfort is perceived.”

The striking HEL Karambit also features a screw-off feature and flipper tab to enhance everyday carry and ease of deployment. Alessandra commented, “As an alternative to smooth flipper opening, the HEL Karambit offers the screw-off thumb stud on the back of the blade. It can be removed by unscrewing the T6 Torx screw. The flipper tab also performs as a guard. Also, despite its compact size, the HEL Karambit can be gripped by either using the handle ring or not. Each karambit grip has optimal use, and each offers different maneuverability and effectiveness in various applications, so the grip depends on the intended uses.”

Hel Karambit Specs
Knife Type: Folder
Blade Length: 2.4”
Blade Steel: 154CM stainless
Handle Material: G-10 scales, liner and ring
Weight: 3.28 ozs.
Closed Length: 4.29”
Country of Origin: China
MSRP: $137.95

Halfbreed Blades CQC-02

Designed by famed special operations and close quarters combat instructor Jared Wihongi in collaboration with TRICOM Training, the CQC-02 Close Quarters Combat comes in plain and serrated edge models and also a trainer.

At Halfbreed Blades, the CQC-02 Series Close Quarters Combat line is the latest partnership with famed special operations and close quarters combat instructor Jared Wihongi in collaboration with TRICOM Training, a leading global provider of premium close quarters combatives and defensive tactics training.

“In many regions worldwide, individuals carry blades for their practical use as tools,” explained Lili Ma, a director at Halfbreed. “Beyond their utilitarian purposes, knives are also carried by many for self-defense or as secondary weapons for those working with firearms or licensed to carry them. The CQC Talon series, developed with Filipino martial arts practitioners in mind, is a meticulously crafted design tailored to meet the needs of military and law enforcement professionals who rely on edged weapons in the line of duty, for example.”

Lili indicated the handle of the CQC-02 Close Quarters Combat series is designed to facilitate all popular grip styles and does not rely on the ring for carry or deployment. The ring aids retention in a high-stress clinch and the draw when the tool is concealed behind gear on a plate carrier.

“All of our tools are designed to form fit the hand. The ring, grip texture and carry system all work in unison to aid a quick deployment. We use USA-made Kydex for the fabrication of the sheath, while the retention is a molded friction lock design and mounting is via customizable DOTS attachments.”

The blade serrations appeal to a consumer segment and reflect the awareness of the Halfbreed design focus. “We like to cater to user preferences where possible,” Lili observed. “The market is divided into two groups: those that prefer a full plain edge and those that appreciate the added cutting power of serrations. In our opinion, serrations, when CNC-ground correctly, have unrivalled cutting power. They excel at cutting through clothing and other hard materials that would typically make a plain edge dull. This being said, they are not for everyone. Some believe serrations can snag or drag when cutting, and they take more effort to resharpen. These are subjective arguments, so there are pros and cons to both serration and plain edge designs.”

Just below the blade spine, the CQC-02 Close Quarters Combat series is designed with a slot or fuller to reduce weight. It also allows control of the balance point of the blade while adding an aesthetic appeal in a fusion of “tactical function art” that drives the creativity of Halfbreed’s designers.

CQC-02 Close Quarters Combat Karambit Specs
Knife Type: Fixed blade
Blade Length: 3.54”
Blade Material: Bohler K340 carbon steel
Handle Material: G-10
Weight: 7.65 ozs.
Overall Length: 7.48”
Country of Origin: Comprises Australian and Taiwanese make
MSRP: $220

CobraTec Karambit Double Action

The CobraTec karambit carries in the pocket via a pocket clip with the retention ring exposed to ease deployment. Using an index finger in the retention ring, the knife easily extracts with one hand and falls into the palm ready to cut and complete chores as needed.

CobraTec is breaking new ground with its automatic entry, the Karambit in OD Green Double Action. “There were several considerations in designing the automatic karambit,” remarked company representative Eddie Johnson, “from aesthetics, function and ability to be used as a karambit, the fit and grip in the hand, along with the design of the retention ring to be used by various-sized individuals. The knife comes with two curved clips to hug the shape, and the clips are shaped to match the side of the knife you wish to carry it on.”

The automatic feature is, at the least, a conversation starter, and at best a feature that complements quick deployment and assurance of a secure lock-up. “The activation switch is located near the retention ring,” Johnson related. “As the knife is drawn for use, the index finger is through the retention ring, allowing the body of the handle to comfortably fit in the palm of your hand. The thumb naturally aligns with the activation switch, and the secure grip of the knife gives the perfect angles for activation of the blade.”

The Cobratec boasts two curved clips to hug the handle shape, and the clips are shaped to match the side of the knife you wish to carry it on. The activation switch for the double-action auto is located near the retention ring.

The CobraTec design allows the karambit to be carried in the pocket with the retention ring exposed to ease the knife’s deployment. With the index finger in the retention ring, the knife is easily extracted from the pocket and falls into the palm ready to cut and complete chores with one hand as necessary.

OD Green Karambit Spes
Knife Type: Automatic
Blade Length: 2.75”
Blade Material: D2 tool steel
Handle Material: 6061 T6 aluminum anodized green
Weight: 4 ozs.
Closed Length: 5.625”
Country of Origin: China
MSRP: $179.99

RMJ Tactical Korbin Karambit

“It’s a defensive blade with no other purpose,” related Rob Orlando of RMJ Tactical in describing the company’s Korbin karambit. “It can be held in the standard grip or reverse grip, either using the finger hole or not. Either way there is a sure grip, and there is nothing protruding from the ring to prevent good purchase.”

The Korbin has a Kydex sheath that includes a two-way belt adapter and allows ambidextrous vertical or horizontal carry options on a belt up to 1.5 inches wide. The sheath is also compatible with the RMJ-optional MAD straps to allow easy carry. The finger hole is 1.125 inches across and large enough to fit most finger sizes. Contoured G-10 scales allow strong grip characteristics in wet or dry conditions. Gimping on the spine both adds some traction and provides a bit of aesthetic flair.

The Korbin’s Kydex sheath includes a two-way belt adapter and provides ambidextrous vertical or horizontal carry on a belt up to 1.5 inches wide.

“The Korbin is easy to conceal,” Orlando added. “If a knife is large and heavy it will likely get left at home, but most of our everyday carry knives are deceptively light and easy to carry and conceal.”

Korbin Specs
Knife Type: Fixed blade
Blade Length: 3”
Blade Steel: Nitro-V stainless
Handle Material: G-10
Weight: 2 ozs.
Overall Length: 6”
Country of Origin: USA
MSRP: $215

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What Makes A Good Hamon?

Mike Haskew

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July 3, 2024

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Know the visual tells of whether a hamon is done properly or not.

For centuries, the hamon has served as a mark of excellence in the forging of blades.

Conspicuous by its picturesque line generally dissecting the midsection of a differentially heat-treated blade, it demonstrates a skill set highly valued among top bladesmiths and swordsmiths. Moreover, the difference between a good hamon and one that doesn’t hit the mark can help the maker, owner and user in understanding the prospective performance of the blade itself.

Basically, think of a hamon as the equator between the hard and softer or more malleable areas of the blade. Everything above the hamon is softer, which translates as making the back of the blade malleable and thus tougher. In other words, the blade will bend but not break. Meanwhile, everything below the hamon is harder, which is better for holding an edge.

Francesco Piccinin and Denis Mura provide hamon on their bowie collaboration. — Emiliano Carrillo indicated a hamon should be continuous, with no areas falling off the edge of the blade. Francesco Piccinin and Denis Mura provide such a hamon on their bowie collaboration. Blade material is C130 carbon steel, according to Eurotechni (eurotechni.com) a grade that makes it possible to obtain “pretty hamons.” Overall length: 13 inches. (Jocelyn Frasier image)

“There are several things that make the edge pattern successful,” explained bladesmith Emiliano Carrillo of Sun and Stars Forge. “The first two are practical.

The hamon should be continuous; there should be no areas of it that fall off the edge of the blade. It should be high enough that the knife can support a lifetime of sharpening and removal of edge material without biting into soft material. For kitchen knives this can be somewhat low to the edge, as the geometry will have to be adjusted if a large amount of edge material is removed.

“The rest are my own opinion and are purely subjective. I’m a bladesmith who works in the historical tradition and therefore my work draws on traditional Japanese metalwork when it comes to hamon aesthetic and technique.

“I think a good hamon should be active and rippling, showcasing your imagination and artistic vision,” Emiliano continued. “It should have good undulations and look like it’s been drawn on the blade with an ink brush. There should be ashi [legs], which are areas of hardening within the hamon that drip down towards the edge. Sometimes a repeating motif, like sanbonsugi [three cedars] or choji [clove] can be utilized to guide the way you want to design the hamon.”

ABS master smith Mike Quesenberry agrees that there are hallmarks to a good hamon that are readily discernable.

“First and foremost, a good hamon will not come down to the cutting edge,” he remarked. “That is a no-no because it is bringing down soft steel where you want hard steel. I want a bigger transition area, and you can credit the Japanese for starting it. As the technology evolved over hundreds of years, they found bits and pieces coming down from the hamon, giving strength to the edge.”

ABS master smith Brion Tomberlin adds that the proper hamon is visible to the eye even when the maker is finishing the grinding process at 120 grit.

“The Japanese have many terms for effects you see and want to see in a nice hamon,” he commented. “And you can spend years studying these. For our purposes, you want it to be very visible and make a very visible demarcation from the hardened area to the softer area. Additional effects such as ashi, which are wispy cloud-like formations hanging down from the main line, are nice and show control.”

Steel Selection

Brion Tomberlin stated that low-alloy carbon steels such as W2, W1, 1095 and 1075 yield the greatest success in producing good hamons. ABS apprentice smith Jesse Hu forged the 8.5-inch blade of his classic integral chef’s knife from W1. Overall length: 14 inches. (Jocelyn Frasier image)

Success or frustration in the hamon process begins with the proper steel, and BLADE Magazine Cutlery Hall-of-Fame® member/ABS master smith Steve Schwarzer emphasizes that point.

“Steel selection is critical,” he observed. “You want a simple carbon steel with .70 to 1 percent carbon, and guys are doing ‘gee whiz’ work using a formula with W2 steel, which is a very simple steel. The time-temperature-transformation curve is important, and alloy widens the curve. Too much alloy in the steel won’t transform fast enough to achieve the hamon pattern you want.”

Tomberlin added that low-alloy carbon steels yield the greatest success, and these include W2, W1, 1095 and 1075.

“The maker should look at the certifications for the steel to see the composition,” he recommended. “You want a steel low in manganese, as manganese promotes deep hardening instead of shallow hardening, which we want. We want the transformation of austenite to martensite to be fast upon quenching in order to achieve a hamon, and shallow hardening steels are what is needed. Can you achieve hamons with other steels? Yes, in some cases where the manganese is lower, but they usually do not have the activity or effects you would like to see. My go-to steel is W2.”

Creating A Hamon

Ashi, which Brion Tomberlin describes as “wispy cloud-like formations hanging down from the main line [of the hamon], are nice and show control.” Eliott Robinson provides ashi in ample supply on the 5-inch blade of his fighter. Blade material: U10A carbon steel. (SharpByCoop image)

After the heat treating and hardening process develops the desired hamon, bringing out the robust visual aesthetic is a process in itself that, according to Carrillo, varies from bladesmith to bladesmith.

“All makers have different ways of polishing out their hamon, and these methods evolve over time or to suit a particular project or aesthetic need,” he observed. “My technique has evolved over time but works for 90 percent of the work I do, and is a good way to practice bringing out all the activity you want to see in the steel.”

For his technique, Carrillo grinds the blade to 220 grit; polishes it to 800 grit using a hard backer for the sandpaper; cleans the blade completely using acetone, dish soap or rottenstone while making sure water does not bead up on it; etches it in ferric chloride; removes oxides completely using fine grit sandpaper; assembles; and then oils.

Quesenberry follows a similar protocol.

“I have a blade in front of me and I’m going to a hammer-in this weekend. I will take it up to 800-grit finish and dip it in ferric chloride,” he said, “and then I’ll wait until it turns black depending on the strength of the ferric. Once it’s black I neutralize it with Windex and then pull with a gray 3M polishing cloth in nice, even and straight lines, removing the black to get the white for the ashi to pop.”

Faux Hamons

Emiliano Carrillo outfitted the blade of his K-Tip Gyuto with a clayed hamon. The handle is bird’s-eye maple, as is the saya (sheath), which includes a black walnut liner and a bamboo menugi (ornament) to keep the blade in place. (SharpByCoop image)

To dispel one common question, bladesmiths confirm that all knives do not have hamons. As Carrillo says, “There may be areas of decarb on the blade that may be mistaken for a hamon, but it is only surface level.”

At the same time, some factory-produced blades may have a fake hamon etched onto the blade to make the piece more attractive to the potential buyer.

“If a hamon has been etched on, a perfectly clean line is generally seen,” he added. “It doesn’t have any of the cloudiness or desired fuzziness seen in the line on a real hamon. The fake ones are generally very white and too regular to be a metallurgical effect.”

Kyle Hanson demonstrates a hamon here on his no-nonsense hunting knife. — The blades even of smaller knives such as folders and hunters provide a solid canvas for a hamon, as Kyle Hanson demonstrates here on his no-nonsense hunting knife. (SharpByCoop image)

Tomberlin has seen a false hamon from time to time and says the technique to achieve one is quite different from the genuine article.

“This is usually done by selective etching or different polishing techniques,” he advised. “It is hard to explain how to tell, but if you see one versus a true hamon it stands out immediately, usually as too regular with no effects at all. Also, there is usually a very sharp demarcation line from highly polished to etched, and this is especially prevalent in some pieces from overseas.”

What Makes A Good And Bad Hamon

Separating the good hamon from the bad hamon may require practice. In some cases the differences are obvious but in others, they are more subtle. The professionals have seen it all.

“The biggest issues of a poorly done hamon are things like fading away in some areas or, yes, going off the edge of the blade,” Tomberlin related. “If the hamon fades off the edge that means your edge is not hard in that area, which is not good. The main causes of this are clay coating being too thick and improper heating of the blade when bringing it up to quench temperature. The main issue I have seen is the hamon going off the edge. As long as you have the edge hard you have a hamon.

Will Newham achieved a hamon on his Best Chef’s Knife winner from the 2023 Sydney Knife Show. — According to Emiliano Carrillo, a hamon should be high enough that the knife can support a lifetime of sharpening and removal of edge material without biting into the soft material above it. Will Newham achieved such a hamon on his Best Chef’s Knife winner from the 2023 Sydney Knife Show. (SharpByCoop image)

“Poorly done polishing will show up also. A well done hamon takes time both before and after quenching. Trying to cut corners on polishing will definitely show. As for a lack of activity in the hamon, such as being straight instead of having hills and valleys, someone told me a number of years ago that one of the hardest things to do well is a simple straight hamon called a suguha.”

Schwarzer sees crispness in the boundaries of a good hamon and acknowledges that heat treating and polishing techniques are critical in bringing that out.

“In the early ABS [American Bladesmith Society] we used an edge quench to get a hamon, and that is the mainstay of the ABS today,” he said. “In testing now you rarely see a hamon because you don’t see as much polishing as necessary to get you through the test. You can’t bring it out with a buffer. It’s almost like a metallurgical polish so you can see the grain in the steel.”

The well done hamon represents an art form in itself, and Quesenberry is impressed with the current wave of artistic impression.

ABS apprentice smith Aidan Garrity outfits the hamon of the 10.5-inch blade of his V-44 repro with hints of ashi. Blade material: W2 tool steel. Handle: carbon fiber. Overall length: 15.5 inches. (SharpByCoop image)

“People have ‘Americanized’ it I guess you could say, and I can do a decent hamon. But some guys out there have absolutely nailed it,” he smiled. “They can paint pictures with theirs using the clay and the heat treating process. You have to be careful not to over-refine the steel grain structure, especially in W2 shallow hardening steel, or you won’t get good results. There is a dance to it.”

The perfection of the hamon process, start to finish, steel and clay, temperature to quench and harden, has fascinated the bladesmith and the admirer of the finished product for centuries. Looking down the road, the possibilities are infinite.

Yet being aware of the good versus the inferior product adds even further to real appreciation of the process.

More On Hamons:

Knifemaking & Swordsmithing: How to Make a Hamon
The Hamon: What, Where, Why and How
Hallmark Of The Hamon
Honey Hole Of Custom Knives Sporting Hamons

Pros’ Secrets To Sharpening Knives

Featured

Mike Haskew

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June 24, 2024

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A knife is made to perform its function as a tool, and job number one is to cut.

It follows that the development and maintenance of the edge is the most important aspect of knife ownership and use. When users are in the shop, around the house, at the office or in the field, keeping the edge in top form and working order makes the task at hand easier and often saves time and effort.

Custom Knifemaker: Chris Berry

Chris Berry sharpens freehand, holding the DMT bench stone in one hand and his modified cleaver in the other. (Chris Berry image)

A custom knifemaker for 15 years, Chris Berry has made a name for himself in heavy-use choppers with blades of high-wear-resistant steel.

“When I finish a knife and get ready to sharpen it, I break the edges on the grinder to start the process and then work freehand after that,” he explained. “I’ll start with an extra-coarse DMT diamond stone and then go from extra coarse black to red medium and then green extra fine.”

In the field Berry carries a Spyderco cubic boron nitride (CBN) sharpening stone along with a Spyderco Double Stuff pocket stone.

“It has medium and fine ceramic for the edge,” Berry continued, “and then I’ll have some piece of leather to strop the blade and remove the burr.”

Chris knows it’s time to touch up an edge when it starts to drag through the cut.

“A blade is dull when it won’t cut printer paper,” he said, “so I’ll sharpen it before it reaches that point. I’m not obsessively sharpening a knife blade, but I’m just hitting the medium edge of the Double Stuff and going to the strop to bring back that popping edge. I usually only go back to the grinder if the edge is damaged, but, if the blade is really dull, starting with the extra coarse diamond and going through the grits will make it like a new knife.”

As Berry noted, the burr is the little, fine piece of steel that rolls up to the edge of the blade and is rough on one side and smooth on the other.

“If the burr isn’t gone after sharpening [the edge is] not sharp,” he advised. “In my opinion, it is the key to whether a knife is sharp or not. I tell people on social media that sharpening a blade is broken down to apexing the edge to raise the burr, refining the edge with progressively finer grits, and then removing the burr by stropping. If you progress through the grits and have the burr removed, you should be able to cut newsprint, phone book paper and even paper towels. That is as sharp as you are going to get.”

Knob Creek Forge: James Gibson

James Gibson of Knob Creek Forge designs knives for ESEE and teaches classes on bushcraft and survival.

Some of the favorite field sharpeners of Joe Flowers include the EZE-Lap 530 Super Fine Diamond/Ceramic Folding Sharpener (top) with a folding handle. “The Spyderco Double Stuff [middle] is a fantastic field sharpener,” Joe wrote. “It and the EZE-Lap Double Sided Sharpening Stone [bottom] both have a leather sleeve which can work as a strop.” (Joe Flowers image)

“I like a full flat grind with a convex edge,” he remarked. “They say the convex edge is the best, and when I have an extremely dull blade I use these little diamond files and then a ceramic rod or stone that will stand the edge up.”

An ABS journeyman smith, Gibson cautioned, “A dull knife will hurt you quicker than a sharp knife because you tend to lose control when you apply more pressure to get a job done. Most of the time I will sharpen a knife at the end of the day, but if it is not performing I will touch it up right then and there. If you ever watch a carver, they will carve for 15 minutes or so and then strop the blade to bring the edge back right quick. After a few days of stropping, they will have to do a bit of sharpening.”

Gibson sometimes uses a marker to spot the blade about a quarter inch up from the edge and then “floats” the edge up and down the diamond sharpener. He then moves to the leather strop and notes that if a compound has been used to keep the leather in shape the process will turn the leather black.

A Brazilian bushman files his machete on a stone, taking out the burrs and nicks in the edge. (Joe Flowers image)

“That means you are pulling steel off the edge,” he commented, “and where the two polished edges meet that will give you the sharpest blade you can get.”

Safety is a constant concern for Gibson and he stresses this aspect of knife use in his classes.

“We train people on the knife, and one of the first things we tell them is never to cut toward yourself. Keep everything out in front of you, or use a bench, log or stump so that everything is out of the way.”

CRKT: Russ Kommer

As a knife designer for Columbia River Knife & Tool (CRKT) and a hunting guide, Russ Kommer keeps blades sharp on a regular basis.

“When I finish up a custom knife, I run the blade on a brand new 400 grit slack belt with a real slight radius,” he remarked. “Then I will take it over a used 400 grit belt so that when the edge is curled and there is a little white line, I can use a leather strop or a 10-inch wheel and break off the burrs.”

Kommer carries a diamond sharpener in the field to touch up an edge.

“That will stand that line back up and remove some steel to get the edge back to infinity,” he said. “The only way to get a blade sharp is to remove enough steel. In the field you can use a leather strop or even the leather heel of your boot or something to help. When guiding, I have done two moose and a caribou in one day, and working on big animals is a big job. Sometimes I will carry two knives and touch both up to be ready for the next week, and I carry a pocketknife for cutting rope or other camp chores. It’s not good to use your hunting knife to cut burlap and dull it up on something like that.”

Testing for sharpness is a varied exercise, and Russ likes the simple standard.

“Guys like to shave their arms and that is all cool and dandy,” he smiled. “I just rake it across the back of my head, and when I feel it grab that hair I know the blade is sharp. There is also the fingernail task—if you feel the blade grab right there on the fingernail, then it is sharp. If you have practiced sharpening a blade enough, then you know quickly just how sharp a knife blade is.”

Condor Tool & Knife: Joe Flowers

As a knife designer for Condor Tool & Knife, Joe Flowers has sharpened thousands of blades through the years. The sharpening process is dependent largely on the work at hand.

This combination of an EZE-Lap ceramic and diamond stone tucks into the JC Messer strop, providing Joe Flowers with a large range of media in a small package. The large strop helps balance out the smaller stone. (Joe Flowers image)

“It can vary between jobs,” he explained. “I just have a 2×42 grinder that I do edge modification on—with every belt imaginable—but by far I use the leather belt the most because I am always using the blades and getting a fast strop. Most of the time, I try and use my field sharpeners and also complement them with the finer stones like my King stones or Spyderco ceramics.”

When Flowers ventures into the field, he is prepared for the occasional sharpening task.

“I really like EZE-Lap’s double sharpener,” he advised. “The files really bite down on carbon steel, and the ceramic on the other side keeps a finer edge. I’ve even used the sheath as a strop. That and the Spyderco Double Stuff are my two favorite compact sharpeners, although Work Sharp’s setup is great, too.”

Chris Berry cuts a figure 6 in a sheet of paper. “A blade is dull when it won’t cut printer paper,” he said, “so I’ll sharpen it before it reaches that point.” (Chris Berry images)

When in the field, Flowers likes to settle down before taking on the sharpening of his knives.

“Normally, in camp situations, unless I’m working hours on a game animal or on a bushcraft project, I leave my sharpening to nighttime around the campfire. I also have my field sharpeners around my desk at work to use to understand how they work on different steels more. I like using EZE-Lap and diamond stones with harder-use bushcraft [carbon] steels like 1095. It can get an edge fast and you can go about your day.

“For machetes,” Joe continued, “I stick with what the locals use, and that’s a file. Generally, I’m working with softer steels for machetes so a triangular single cut bastard or double cut bastard file about 6 inches long is a nice addition to my sheath. I’m finding better results in super steels on diamond stones until I move into these new crazy preloaded diamond powder strops. Those look incredible to try.”

These items are extremely handy if you do anything with knives. The fingertip bandages are good anywhere on the bop, aka a survival experience, and bleed control Band-Aids® can also be handy. They have a coagulant. Besides a tourniquet, noninvasive wound closure devices coupled with a tape adherent like Skin Tac™ can save a trip to the emergency room for those annoying cuts. (Joe Flowers image)

When sharpening a dull blade, Flowers is known to use 60- to 80-grit belts to re-form edges when large chunks have been taken out of a machete, for example. He maintains that it can take the steel off the blade fast but there must be a bucket of water or a spray bottle handy to keep the grinding surface cool.

Bringing a knife back from dead dull involves a proven process.

“At home I would reprofile gently on a 1×30 Harbor Freight special I’ve had from the old days,” Joe commented. “Depending on the steel and use and the comfort of the hardness, I’ve reprofiled knives from dead dull with homemade sandpaper and mouse pad backing and keep heavier grits there as well. You can definitely over sharpen a knife by stropping so much you roll the edge. In the technique, you need to be able to tell when you have just the right amount of pressure.”

Hari, a Huitoto tribesman from Colombia, uses a common triangular file on the axes and machetes on Bushcraft Global (bushcraftglobal.com) trips. For the final edge, the file is drawn from the edge to the poll. (Joe Flowers image)

Sometimes the type of sharpening medium used depends on the blade steel, the style of blade and the common utility of the knife.

“On many higher-end-steel kitchen knives, I stick with King stones because they are tried and true,” Joe related. “However, I like many different media for various steels, going for the extra-fine edges or a strop loaded with compounds for the final edge. For things like serrations, I use thinner round diamond rods for getting the radius, but I don’t deal with them much. I really like the flattest surface possible when I sharpen Scandi as it helps keep the angle straight.”

Retaining a sharp edge makes life easier wherever and whenever a knife is needed. A few minutes to shape up a blade is always time well spent.

More Sharpening Articles:

Knife Sharpening: What’s the Best Angle?
5 Myths About Knife Sharpening
5 Leading Sharpening Rods
4 Steps to Perfect Freehand Sharpening

Latin America’s Elite Knife Crafters: Custom Blades and Their Makers

Featured

Mike Haskew

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June 12, 2024

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Latin America’s Elite Knife Crafters: Custom Blades and Their Makers

The knifemakers of Argentina and Brazil have revolutionized the world of cut.

The language of custom knifemaking and bladesmithing is universal, so, logically, the appeal of the industry would have global reach. Through the years, such has been proven in the work of gifted artisans around the world, and those from Latin America have gained increasing attention. The quality of their forged steel, the fine lines of their folders and fixed blades, and the attention to detail in their finished work have created a buzz.

The impact of Brazil and Argentina especially has been noticeable at the BLADE Show and elsewhere in recent years. Argentine winners in the BLADE Show custom knife competition include Claudio, Ariel and Marcelo Sobral, Mauricio Daletzky and Javier Vogt, while Brazilian winners include Fabio Barros, Gustavo “Gus” Cecchini and Franco de Souza, the latter whom recently copped multiple knife judging awards at this year’s BLADE Show Texas. Cecchini, meanwhile, pulled a rare double at last year’s BLADE Show, winning for Most Innovative Design in the custom knife competition and the BLADE Magazine 2023 Knife Collaboration of the Year® with WE Knife for the Solid folder.

Like their European, Asian and North American counterparts, bladesmiths and knifemakers from Latin America are acknowledged by manufacturers, purveyors and the buying public as among the best in the world. Their stories validate their commitment and emerging success.

Ricardo Vilar

One catalyst for the growth and resulting excellence among Latin American artisans is ABS journeyman smith Ricardo Vilar, a native of Brazil who relocated with his family to Arkansas several years ago. Vilar wanted to be the best, and so he sought out the counsel and advice of the best. He was so thoroughly committed to bringing award-winning bladesmith Jerry Fisk to Brazil for some learning and instruction that he was willing to sell his car to make it happen.

“It was in 2000 that I started exchanging messages with Jerry because I had come to the BLADE Show with one of my friends and talked to him about doing a hammer-in in Brazil,” Ricardo remembered. “Jerry came to Brazil in 2001 and had a meeting with 14 knifemakers and bladesmiths at my shop. We had nine dates with Jerry at my shop, and then after that the knowledge began to spread.”

Vilar and Fisk developed a close friendship along the way, and Ricardo has made the most of his innate talent and the skills he has sharpened with help from Jerry. Living within an easy drive of one another, Ricardo and Jerry are regularly in touch. In 2020, Ricardo won first place on an episode of Forged in Fire as a television audience witnessed his prowess. He also became involved with a Latin American version of FIF titled A Challenge Under Fire. In 2021, the two also embarked on a joint venture called FAV (Fisk and Vilar) to produce a limited number of collaborative pieces, up to 25 annually, for the collector market.

“After Jerry came to Brazil, we started sharing information and that sharing is very important,” Ricardo added. “We have had guys from Argentina come to meetings as well, and we like to ‘walk together’ in getting better.”

When Fisk arrived in Brazil for the first time, he informed the gathering that they would be better served using a gas forge. When the attendees were skeptical, still using coal and charcoal, he told them to have open minds.

ABS journeyman smith Fabio Barros of Brazil won Best New Maker at BLADE Show 2022 for this beauty. He also won the show’s award for Best Handle with another knife, and Best Handle at BLADE Show ’23 for one of his integral fighters. (Andre Maino knife image)

“Ricardo and I went down to a junkyard and got what we needed,” Jerry recalled. “We set up the forge and made damascus and opened up everybody’s eyes. I also found out that bladesmiths from the different states in Brazil did not really share information with one another. When they told me that, I started to pack my bag. When they asked what I was doing, I told them that if they didn’t share information I was going home. ‘If you won’t share with each other, then why should I share with you?’”

The message was heard loud and clear. From there, the Brazilian bladesmiths and knifemakers made steady, significant progress, right along with others from neighboring countries in Latin America. “The intent was to show the rest of the world what they were capable of doing,” Jerry said. “I went there for a few years to teach them and show them a few things, but then there has to be a line where you are no longer teaching but cheerleading. I would cheerlead with them when they asked a question and say, ‘Yes! Yes! You’re doing it the right way!’”

Ricardo looks back at the investment of time and money that really helped bladesmithing and custom knifemaking to take off in Latin America. “I was willing to sell my car to buy Jerry’s plane ticket,” he laughed, “and I started telling other knifemakers that he was coming to Brazil and that they should come to my shop to see him work. He is my mentor, and I am still inspired by his work.”

For Fisk, teaching and cheerleading come naturally and fulfill an obligation to help others.

“Some of them call me the father of modern knifemaking down there,” he commented, “but what it amounts to is that my first students have had students, and it has just multiplied, so in a way I have multiple grandchildren and great grandchildren in bladesmithing and knifemaking.

“I remember telling them that if they wanted to show their knives in the U.S., they had to go above and beyond what others might do. I said, ‘Others will assume that your work is not as good as what they have been seeing. So if their knives cut through two 2x4s, make yours cut through 10. Make your knives cut more ropes than theirs. Dig deeper and go further!’”

Rodrigo Sfreddo of Brazil is the first accredited ABS master smith from Latin America and forges some of the most spectacular damascus fixed blades of any hemisphere. (SharpByCoop knife image)

Jerry also singles out the work of ABS journeyman bladesmith Facundo Montenegro of Argentina and Brazilian Rodrigo Sfreddo, the latter the first Latin American accredited ABS master smith. Fisk sees an enthusiasm, a drive that helps set the Brazilians apart. “It’s their hustle,” he asserted.

“One of the reasons they hustle so hard goes back to the fact that you can’t get stuff quite as easily down there, and they have had to rely on innovation. When I first went to Brazil, Ricardo asked me what I needed, what kind of anvil or grinder, and I told him it didn’t matter. We would make knives with whatever they had. It’s not always what equipment is in the shop, but what is in the head, eye and hands.

“Still, years back if you wanted to buy an anvil, you had to buy it here in the United States and ship it there. That was true with grinders and other supplies, too. And you would pay heavy taxes as well. Now, we have businesses making supplies there in Brazil, and that has been encouraging.”

Flavio Ikoma

On the factory side, Brazilian Flavio Ikoma has developed a collaborative relationship with Columbia River Knife and Tool, while his apprentice, Pedro Buzetti (page 24), has also come into his own. The Ikoma Korth Bearing System (IKBS), which Flavio helped design along with Ricardo and Paulo Lala, and his Deadbolt locking system are major contributors to the popularity of his CRKT designs. The IKBS, in fact, has revolutionized both custom and factory folders alike.

“Every design of Flavio’s we have uses the IKBS,” remarked CRKT representative Doug Flagg. “His most famous model is the Fossil, and Walmart has sold it for the last seven or eight years. It is amazing because IKBS allows the knife to be opened super fast and the action is incredibly smooth. [Another Flavio] design, the Attaboy, incorporates IKBS. Fitting the bearings in along with Flavio’s patented Deadbolt lock took a herculean effort!”

Flagg and CRKT began their association with Flavio after a tip from BLADE Magazine Cutlery Hall-Of-Fame® member Ken Onion. When Onion mentioned Flavio’s use of bearings in the pivot, he encouraged Flagg to make a phone call to the Brazilian.

“All Flavio wanted was recognition that we would be using IKBS,” Doug commented, “so we agreed and started using IKBS on [the Ripple, another Onion design for CRKT]. IKBS worked great but was hard to mass produce. The original system was individual ball bearings in a milled-out track, and we eventually evolved to caged bearings. Flavio said he would have used caged bearings if they had been available in Brazil. CRKT and most of the industry credit Flavio with putting bearings in the pivot of knives. Also, the Deadbolt is super easy to use and really, really strong. It’s easy to clean out as well. Just unscrew the button and the Deadbolt comes out. Then use compressed air to blow out the crud and reassemble.”

Argentine Mauricio Daletzky won Best Art Knife at BLADE Show 2021 for Creole in ladder pattern damascus and a wire wrapped ebony handle with matching sheath. Overall length: 12.2 inches. He won the same award at BLADE Show ’23 for The Gaucho Knife in damascus and mother-of-pearl. (Whetstone Studio knife image)

Flavio’s contribution is further evidence of the innovation and skill present in knifemakers and designers from Brazil. “I think they are so good because they have to try harder to penetrate the USA custom knife market,” Flagg reasoned. “They don’t really have a market for high-end custom knives in Brazil, although it is starting to become a thing. Therefore, they have to work really hard and make incredible designs to catch the attention of foreign knife collectors.”

CRKT is working with Pedro to produce current and future offerings. “We have a couple of models in the works with Pedro for 2024,” related Flagg. “As Flavio’s apprentice, he has taken up his own love for knives, and Flavio is now helping him to make custom knives. I expect Pedro to be one of the top makers in the coming years. He is young and absorbing all the knowledge that took Flavio years to acquire. Rick Lala has great designs also. I typically look forward to seeing his knives at the custom knife shows.”

Sobral Brothers

Through Exquisite Knives, custom knife purveyor and retired ABS master smith Dave Ellis has put high-end custom knives in the hands of collectors for many years. He praises the work of the Sobral Brothers, Claudio, Ariel and Marcelo (CAS), of Buenos Aires, Argentina, for setting a standard in bladesmithing excellence.

“At first it was their san-mai blades that seemed to attract my clientele,” Ellis explained. “Gradually, as their work progressed, their damascus steel, gun-blued fittings and their stunning designs really put them at the front of the pack. Organic materials are typically utilized for their handles, and Marcelo’s leatherwork has really become a complement to their amazing knives. Bold, dark damascus, as well as intricate mosaic damascus steel draws the eye, and once you hold a knife made by CAS it all comes together!
“They seem to work together seamlessly and produce singular works of art. With three of them working together you can sense the symbiosis that exists and once you meet them, their warmth and enthusiasm are refreshing as well as contagious.”

From wherever it emanates, quality work always speaks for itself. The Latin American bladesmiths and knifemakers have continually enhanced their quality work, and in turn to attract the attention of buyers around the globe.

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What Do Judges Look At In Custom Knife Competitions?

Knifemaking

Mike Haskew

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May 22, 2024

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What Do Judges Look At In Custom Knife Competitions?

Know some of the criteria judges use to evaluate custom knives.

Artistic impression, technical merit, fit and finish, walk and talk: What are the standards and where are the attributes that lead to a judge’s conclusion when awards are on the line at a custom knife show? It goes without saying that sometimes the difference between a winner and runner-up is as thin as the edge of a sharpened blade.

Those who judge knife competitions are obviously obliged to employ their experience, skill, years of involvement with the industry and discerning subjectivity. As a result, looking at the criteria that some veteran judges employ helps observers develop a deeper perspective on the competition among the best custom makers in the business. Moreover, if you’re a collector, knowing what judges look for should help you improve your collection; if you’re a knifemaker, it should help you make better knives—or at least knives that are more likely to win judging competitions.

Peter Johnsson's Harbinger — It’s not unusual for a knife to win a category based simply on how hard it is to make—and when you make it as superbly as Peter Johnsson does with the Harbinger, so much the better. (SharpByCoop image)

“I use the four F’s,” advised longtime purveyor Les Robertson, “fit, finish, flow and function. Fit is the overall look of the knife, focusing on how well the guard/bolster fits the blade and guard. How well does the material fit up against the guard and spacers? If a full tang or tapered tang, how well does the handle material fit to the tang?” When it comes to finish, Les primarily looks for consistency and degree of difficulty.

“No matter what type of finish, is it consistent from the tip to the end of the knife? It can have no spots, scratches or other inconsistencies,” he explained. “The degree of difficulty comes in the form of the type of finish. A mirror finish is much more complex than a tumble or bead blast finish. I give bonus points for two-tone finishes, such as a mirror finish on the hollow of the blade and satin for the flat of the blade.”

Finishing up with flow and function, Robertson commented, “Flow—does the knife transition smoothly from one end to the other? Sometimes art knives become more about the art. The embellishments can take away from the basic design the knife was built on. Function: will the knife do what the design intended it to do? While there is always room for improvement on standard designs, the maker should temper the changes and base them on reality. Often, the design borders on or moves into the fantasy realm.”

Robertson adds that the first thing he notices when judging is whether the knife fits the category entered. Hunters, for instance, do not generally feature 10-inch bowie-style blades. Common errors or flaws, he observes, can usually be found in grind line symmetry in the choil area, whether a folder or fixed blade.

Complexity

Jared Oeser has been a custom knifemaker for 13 years and finds himself most familiar with folders. “Folders tend to be, more often than not, the more complicated knives to make,” he began. “Fit and finish are big factors, especially on a folder, and every detail has to be taken into account along with how hard the knife is to make. Adding a lockback feature or multiple blades makes the knife more complicated, and I have seen knives win in categories—even best in show—that might have a tiny flaw but win on the sheer complexity of the knife, just how hard it was to make.”

Oeser likes to take a broad view in the beginning, looking over each of the knives in a particular competition and moving from there. “In a process of elimination, I take some away and then give an overview of the ones that stand out with their level of detail, refinement and craftsmanship,” he said. “I try to leave style aside because everybody has a style of their own. But I do want to see that they have accomplished what they intended to do within their own style. It may not be to my taste, but if they have nailed it, that’s great! What does the entire package look like?”

Top-down views of knives can reveal the good or the bad. Here it’s the good with the proper spacing between the closed blades on an Evan Nicolaides sportsman’s knives. (SharpByCoop image)

After judging for the first time at BLADE Show Texas in 2022, Jared has seen some entries that immediately fall out of contention. “There are automatic disqualifications if knives have massive flaws,” he related. “I was judging a competition with [ABS master smith] Jim Rodebaugh once, and there was a big bowie with the nut on the end of the pommel way off center. Jim put that knife down and said, ‘Well, that’s out.’”

Scale & Proportion

Scale and proportion are critical elements in the overall presentation of a custom knife, and these ideals apply to both fixed blades and folders, according to Jim Berkenfield of Forged in Thread, an apparel company that contributes revenues back to the knife industry. “I typically examine a knife from the tip of the blade to the handle,” he said, “but that’s just me. Right away your eye will pick up on common errors such as disproportionate size between blade and handle, major flaws in fit and finish, or any sort of material or structural flaw. In my opinion, line and flow are extremely important in both fixed blades and folders, yet as in most judging this is a subjective characteristic of a knife. Really, it’s no different than admiring a fine piece of sculpture or artwork and saying ‘I like that’ or ‘I don’t like that.’”

Fit and finish factor into the award-winning formula in virtually every judge’s point of view. Visual appeal and quality construction go hand in hand. “That’s extremely important in judging knives,” Berkenfield added, “because judges are always looking for perfection in whatever the category may be. Smooth transitions between materials, perfectly centered blades, and smooth locking mechanisms are all vital characteristics of a winning knife.

Flow is when the knife’s shape transitions smoothly from one end to the other. ABS master smith Adam DesRosiers nails the concept with his damascus keyhole hunter. (SharpByCoop image)

“In categories that I have judged, the judging teams quickly have been able to reduce the submissions to the top one, two or three knives almost at a glance. Occasionally a piece can be overlooked by a judge based upon the fact that it’s a knife that doesn’t fit [his/her] general aesthetic or knowledge set, and therefore [he/she has] a hard time appreciating it. Obviously, this is one of the reasons that judging is done by a panel and not by an individual judge.”

When it comes down to a pair of high-quality knives, Berkenfield seeks a closer examination of each piece, sometimes with a magnifying glass if necessary. Bad welds and asymmetry in damascus steel can make or break a winning knife.

“A piece of advice I have given to a lot of aspiring and up-and-coming makers is to try and find a way to distinguish your work from the multitude of other incredible knifemakers out there,” Jim concluded. “I tell them to imagine a table with 100 knives on it and one of their knives somewhere in the mix. They should be able to quickly scan the table and identify their knife from all the others. This is easier said than done and sometimes is accomplished with a completely unique design or simply by a small detail that identifies a knife as their own.”

Half The Equation

After making custom knives for eight years, Pennsylvanian Jim Vandeveld sees the judging aspect of his involvement weighted heavily on fit and finish, and his perspective on the topic is pretty specific. “Fit and finish are absolutely critical, and honestly, to me encompass more than 50 percent of a knife’s virtue,” he explained. “Polishing, edge breaking, hand satining, etching, buffing, etc., all must flow just as the design must flow. Inspecting it is purely visual and deficiencies are often glaringly obvious. For me, light usually tells the story. How a finished surface catches the light will often show most imperfections.”

Common errors or flaws can usually be found in the grind line symmetry in the choil area. Carl Colson matches the plunge cuts quite well on his Loveless reproduction. (SharpByCoop image)

For Vandeveld, the judging experience begins at first sight—literally. “I think the way the knife is perceived visually at a distance is very important,” he commented. “I personally look for balance, flow and symmetry. These are broad spectrum visual cues that tend to draw me in to take a closer look at a piece. When judging a knife, all views must be taken into account. Lateral, top down, down the point, and more, all propose a different perspective and opportunity for detail to be found or missed. The same is true for folding knives.”

Vandeveld’s judging eye gravitates toward high quality, but common and recurring errors in the knifemaking process do surface. “I think the most common flaws that pop up within custom knives tend to be both visual—related to plunge and grind symmetry as well as faceting on handles and other components, straight-line fit-ups as far as gaps and locations, finishing with etching, sandblasting and polishing—as well as ergonomic hot spots and unbroken edges. These tend to be more subjective based on the maker’s style, but when judging a knife, how it fits in the hand is just as important as the aesthetic in my opinion.”

Set Of Standards

Most judges would probably agree that the devil—or the delight—is in the details when it comes to evaluating the entries in a custom knife competition. It’s way more than a beauty contest. Accessories such as sheaths or pocket clips are not necessarily required. As more than one judge has said, “I’m judging the knife and not the sheath.”

The sheer weight of the knife may even come into play for some, while others make it only a minor consideration. Walk and talk in folding knives certainly demonstrates the proficiency of the folder maker’s tolerances, centerline and spacing, and ease of opening. The list goes on.

One thing is certain—in judging the merits of a custom knife, an experienced individual learns to apply a set of standards to which all makers aspire.

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