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Japanese Blades: Mystique Of The East

Mike Haskew
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Japanese Blades: Mystique Of The East

Japanese blades have enchanted and endured for centuries with no end in sight.

The lure of the Eastern style has captivated cutlery artisans for centuries, and interpretations of it remain alive and well, blending tradition seamlessly with modern techniques and materials while staying true to their roots in Japanese culture. While there is plenty of skill required and the artist’s eye lends its perspective, custom knifemakers continue to produce wonderful examples in fusions of blade, tsuka (handle) and furniture—and they are quick to explain the reasons why.

Denis Tyrell

Denis Tyrell’s aptly named Silver Moon katana features a 29-inch blade that is pure silver laminated: damascus over silver with an 80CrV2 carbon steel core. The traditionally wrapped tsuka (handle) has silver and mild steel fittings and silver inlay. The tsuba (guard) is mild steel. Overall length: 40 inches. Tyrell’s price for a similar sword: $9,500.
Quite a Japanese blade! Denis Tyrell’s aptly named Silver Moon katana features a 29-inch blade that is pure silver laminated: damascus over silver with an 80CrV2 carbon steel core. The traditionally wrapped tsuka (handle) has silver and mild steel fittings and silver inlay. The tsuba (guard) is mild steel. Overall length: 40 inches. Tyrell’s price for a similar sword: $9,500. (Jocelyn Frasier sword image)

“Japanese blades have both an elegance and a mystique to them,” said maker Denis Tyrell of Livermore, California. “They have subtle curves that really appeal to me. They are also very complex to build and get right—I’m still striving for a higher standard.”

Setting out on a creative path that brought modern and traditional methods together, Tyrell made great strides toward that standard in his Silver Moon katana. “I appreciate all the complex fittings on these swords, so I try to keep to that mix,” he noted. “The blade is where I step out a bit more into the modern, using damascus steel and other techniques to really show it off.”

The result of Tyrell’s effort succeeds in highlighting the 29-inch damascus blade and handle wrapped in faux leather. The fittings are silver, while the guard is mild steel with silver inlay. The blade presents something of a surprise with its damascus cladding over silver with a solid core of 80CrV2 carbon steel. To preserve the integrity of the damascus, the blade was not heat treated. The sword is 40 inches overall and the blade grind is convex.

“The melting point of silver is 1,763 degrees Fahrenheit,” Denis added, “so it’s challenging to forge that together with the damascus cladding and core without melting it. I also found getting the fittings perfect so a single pressure-fitted peg will hold it all together with no slack to be a challenge.” Denis said the Silver Moon sold for $9,500. The owner has invested in an authentic Japanese-style sword that not only exhibits great talent but also pays tribute to the historical appeal of those produced in the past.

Drew Lininger

A hollow-ground blade of AEB-L stainless steel and a jade-green G-10 handle highlight Drew Lininger’s Tanto Kwaiken. His price for a similar piece: $400.
A hollow-ground blade of AEB-L stainless steel and a jade-green G-10 handle highlight Drew Lininger’s Tanto Kwaiken. His price for a similar piece: $400. (Jocelyn Frasier knife image)

Drew Lininger of Belgrade, Montana, honed his knifemaking skills further with his Tanto Kwaiken, a stylized version of the small, single-edged dagger carried by the Samurai for close self-defense.

“I love slimmer, more streamlined knives, and the Japanese style really appeals to me with its simple lines that make for a complex knife,” he related. “I also like how you can scale the designs easily. You can basically make the same knife in multiple sizes without having to change anything but the dimensions.”

The Tanto Kwaiken has a 4-inch blade and 8.25-inch overall length. Drew decided on AEB-L stainless blade steel complemented with a handle of jade-colored G-10, its fibers presenting a pleasant textured look approaching the ricasso. The guard is Grade 5 titanium. The most difficult aspect of the knife’s production was succeeding with the precision required for the numerous angles and lines to meet at the same apex without variation on all sides of the handle.

One departure from tradition is the blade grind. “It is a 6-inch hollow grind,” Drew commented, “definitely not standard for traditional kwaikens. I had originally seen the full hollow grind on some folding knives and wanted to try it on a kwaiken.”

Jim Perkins

Jim Perkins’ wakizashi takes down by removal of the pin from the Japanese maple handle. The 19-inch blade is 1,724 layers of 1095 carbon and 15N20 nickel alloy steels. Overall length: 28.25 inches. Jim’s price for a similar piece and saya (scabbard) is around $2,500.
Jim Perkins’ wakizashi takes down by removal of the pin from the Japanese maple handle. The 19-inch blade is 1,724 layers of 1095 carbon and 15N20 nickel alloy steels. Overall length: 28.25 inches. Jim’s price for a similar piece and saya (scabbard) is around $2,500. (SharpByCoop knife image)

Jim Perkins of Garden City, Kansas, built a superb wakizashi at 28.25 inches overall with a 19-inch damascus blade consisting of 1,724 layers of 1095 carbon and 15N20 nickel alloy steels. The stunning blade is accented with copper habaki (collar), seppa (spacer) and tsuba (guard), and a handle of gleaming Japanese maple. Jim’s price for a similar sword would be around $2,500, and he likely would relish the opportunity to take another stab at such a piece.

“For me, the appeal of the Japanese style is in the history and the flow of the traditional blades,” he offered, “along with challenging myself to make the symmetry of mine as aesthetically pleasing to the eye as possible. If you look at traditional Japanese blades, you see a natural beauty that has been a tradition of the master smiths who have made them. It is hard not to be inspired by their work.”

Giving a nod to his preference for modern materials, Jim also takes advantage of some conveniences in the shop. “Since I’m a bit older, the hydraulic press is invaluable,” he explained. “It saves my shoulder from the abuse hammering out the steel would inflict. That said, while I am working the steel I try to keep in my mind’s eye the process the masters might have used, and attempt to honor their traditions the best I can using modern materials and methods. Examples of this would be that I ‘bed’ the tang in the handle and my milgraining treatment to the tsuba.”

Jim describes the wakizashi as full takedown with the removal of the handle pin. He fits the tang to each side of the handle using a saya nomi, Japanese for scabbard chisel, made by Walter Sorrells. Afterward, Jim glues the handle sides together for fitting to the tang, applies petroleum jelly to the fittings and the tang, and fills the handle cavity with epoxy, which he allows to cure for approximately three hours.

From there he removes the handle from the tang, cleans off the petroleum jelly, and resets the handle in the tang to allow final setup. Jim works the tsuba with a hammer from the center toward the edge, and hammers a design into the material with a small ball-pein hammer. In this particular case, he finalized a textured finish on the engraving bench with a milgrain tool.

“I allow the copper tsuba, seppa and habaki to patina naturally through handling as opposed to using a chemical application,” Jim said, “and I would be remiss not to mention the meticulous requirements of prepping the steel for each forging session. Keeping the steel as pristine as possible for the next forging session to eliminate any forge welding failures is tremendously important. The discipline required to do this increases as the layer count goes up, but it is an absolute necessity to avoid disappointment in myself or the final product.”

Kieren McNeilly

An 11-inch blade forged from W2 tool steel sporting a slanted choji (clover-tree flower) hamon and a raw stingray hide handle top off Kieren McNeilly’s traditional tanto. The stingray hide underwent no dying or tanning to keep it nice and hard. Overall length: 16.5 inches.
An 11-inch blade forged from W2 tool steel sporting a slanted choji (clover-tree flower) hamon and a raw stingray hide handle top off Kieren McNeilly’s traditional tanto. The stingray hide underwent no dying or tanning to keep it nice and hard. Overall length: 16.5 inches. (Rod Hoare knife image)

Capitalizing on available media such as books and YouTube videos while also talking with other makers, Kieren McNeilly of Warwick, Queensland, Australia, stepped into Japanese-style knifemaking with optimism. “I highly recommend anyone thinking about making one to just go out and do the same,” he smiled.

McNeilly’s work is a reflection of other aspects of his life. “My house has touches of Japanese art all around, from Samurai masks to antique tsuba and more things not related to knives,” he said. “Japanese knives are simple, well-thought-out designs, all built for a purpose. I’m also a big fan of a satin or polished finish on a blade with contrasting forged texture, which is another common thing you see in Japanese knives. Same for the swords. All parts of the katana serve a purpose, from differential heat treatment of the blade to the ray skin down to the mekugi [pin] that holds it all together.”

McNeilly’s traditional style tanto is 16.5 inches overall with an 11-inch blade forged from W2 tool steel. The saya (scabbard) is buffalo horn and the handle is raw stingray hide. The latter did not go through any dyeing or tanning process, which keeps the material hard and stiff.

“Three areas of this knife gave me issues,” he related. “The first was the heat treatment when the water quench failed. Luckily, I had no cracks. The blade didn’t fully harden, so as an easy fix I went back through my normalization cycles, clayed the blade again and then quenched it in oil.

“The second issue was the constant attention needed to get the width and diameter of the handle and saya to match as closely as possible when sheathed, with perfect fit-up and zero gaps. Lastly was working with the raw stingray hide. The calcium nodules are extremely hard and make cutting the material difficult. The hide also has to be soaked in water to take shape around the handle.”

To solve the problem of gaps developing as the raw stingray hide dried, McNeilly used masking tape to add mass to the handle and then removed the tape to allow the hide to shrink to the proper position. “It left just enough space for the hide to shrink that last little bit,” he remembered, “and this still took me a few attempts to get it right.”

Using a combination of Japanese and Western methods and materials, Kieren achieved magnificent results. “I have not used tamahagane, a precious bloomery steel, and if I were to, I would make a point to use all traditional materials and more traditional techniques,” he concluded. “Synthetic materials like G-10 and Micarta® work great as substitutes for more traditional materials like bone or horn, although I love how horn and bone can add a lot of character to a piece.”

More On Knife Collecting:

Choosing The Right Knifemaker

Mike Haskew
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Choosing The Right Knifemaker

Veteran collectors discuss what to look for in a top knifemaker.

When it comes to spending your hard-earned dollar, knowing what to look for in a knifemaker provides a perspective that can’t be achieved any other way. The knife itself offers a real, tangible opportunity to assess the workmanship, and a dialogue with the maker—or at least some knowledge of his or her career and standing in the knife community at large—allows for informed decision-making.

“The main thing I look for in a knifemaker is someone with an original design aesthetic,” observed longtime collector Jim Berkenfield. “I always tell up-and-coming makers that they want to create something that can be immediately identified as theirs if it is sitting on a table in the middle of 100 other knives.”

Meanwhile, being mentored by a leading maker is not something Jim looks for in a maker.

“I always tell up-and-coming makers that they want to create something that can be immediately identified as theirs if it is sitting on a table in the middle of 100 other knives,” collector Jim Berkenfield advised. Veteran maker Bertie Rietveld’s Makiti folder in composite dragonskin damascus and gold inlay meets that standard and then some. Closed length: 5 inches. (SharpByCoop image)
“I always tell up-and-coming makers that they want to create something that can be immediately identified as theirs if it is sitting on a table in the middle of 100 other knives,” collector Jim Berkenfield advised. Veteran maker Bertie Rietveld’s Makiti folder in composite dragonskin damascus and gold inlay meets that standard and then some. Closed length: 5 inches. (SharpByCoop image)

“I don’t necessarily think a maker needs to have some well-known mentor or instructor,” he opined. “These days, savvy and creative people can access all the information they need via social media or the internet to get them started down the road to knifemaking.”

The first impression is key to developing any relationship, and finding a maker with his or her own creative voice is an essential component for many.

“Firstly, and most obvious, I have to be drawn to the maker’s work, assuming I don’t really have any previous interaction with the maker,” collector Chris Schluter said. “I think these days social media is certainly an easy and quick way to get some information. There are countless knife groups on Facebook, for example. One could ask in these groups if anyone has had experience with a certain maker or knives. Of course, doing this in person at a show is an option as well.”

Personal Interaction With Knifemakers

Many think it very important for a new maker to attend knife shows. According to collector Chris Schluter, “A show is a great opportunity to get feedback on your knives and also check out other knives and speak to other makers for tips and inspiration.” Chris Losacco (right) of Elemental Forge shows one of his damascus fixed blades to customers at last year’s BLADE Show West.
Many think it very important for a new maker to attend knife shows. According to collector Chris Schluter, “A show is a great opportunity to get feedback on your knives and also check out other knives and speak to other makers for tips and inspiration.” Chris Losacco (right) of Elemental Forge shows one of his damascus fixed blades to customers at last year’s BLADE Show West.

Larry Hirsch, a veteran collector of Lloyd Hale’s work and that of other classic custom makers, sees the value in social media but also understands the benefits of personal interaction across the table at a show.

“I think it’s important for makers to attend knife shows,” he commented. “Meeting people, talking about their work, hobbies, family, ideas, networking and making friends is all part of a successful business. I’ve bought knives from makers that I’ve met at shows and become friends with. I’ve sold off knives from makers that were rude to me at shows.”

Consequently, there is more than just an exchange of cash for steel in the building of a mutually beneficial relationship between maker and customer. Even though it may sometimes be difficult for a maker to attend a show, there are still opportunities to interact.

“I don’t think it’s mandatory for makers to attend shows because knife shows are expensive,” Berkenfield said. “For new knifemakers in particular there is no guarantee that they’ll even sell anything. When a maker is exhibiting at a show, yes, I think it’s important that he engages with people as they walk by—without being pushy. I think the biggest reason knifemakers should try to attend shows is to gain inspiration from other work in the room, acquire materials, and just make some contacts in the industry.”

Larry Hirsch is an experienced collector of the knives of Lloyd Hale. Larry indicated before placing a custom order, ask the maker about the things that are important to you and be sure you get the answers you want. The example of Lloyd’s work is a spectacular sub-hilt in gold-lip and white mother-of-pearl, abalone and 440C stainless steel. (image of Larry Hirsch and Lloyd Hale courtesy of Hirsch; SharpByCoop knife image)
Larry Hirsch is an experienced collector of the knives of Lloyd Hale. Larry indicated before placing a custom order, ask the maker about the things that are important to you and be sure you get the answers you want. The example of Lloyd’s work is a spectacular sub-hilt in gold-lip and white mother-of-pearl, abalone and 440C stainless steel. (image of Larry Hirsch and Lloyd Hale courtesy of Hirsch; SharpByCoop knife image)

It’s entirely possible that young makers seeking to establish themselves could complement their use of social media such as Instagram with regular visits to shows. Visibility is a key in promoting a knifemaking career.

“It’s very important for a newer unknown knifemaker to attend shows,” Schluter advised. “A show is a great opportunity to get feedback on your knives and also check out other knives and speak to other makers for tips and inspiration. I think that this is probably best done in conjunction with a social media presence so any customers or followers know where they can handle some knives ‘live.’”

SPECIAL ORDERS
When a potential buyer wants a special order or the maker has a waiting list, it makes sense to weigh the dynamics of the situation, including whether the maker takes custom orders and whether he or she requires a deposit.

Schluter remarked, “Many say that a true custom knife is a knife made to a customer’s specifications with specific materials. Many makers will do this, of course. However, many makers, especially very ‘in-demand’ ones, will just make what they want and it will sell. And customers will be happy to get anything from that maker. As far as waiting lists and order books go, it’s really up to the maker and not the customer. Someone told me once long ago, ‘There’s real time and there’s knifemaker time.’”

“I think the biggest reason knifemakers should try to attend shows is to gain inspiration from other work in the room, acquire materials and just make some contacts in the industry,” collector Jim Berkenfield said. ABS master smith Kyle Royer (left) and BLADE Magazine Cutlery Hall-of-Fame® member Steve Schwarzer (right) admire the work of an exhibitor at a past BLADE Show. (Whetstone Studio image)
“I think the biggest reason knifemakers should try to attend shows is to gain inspiration from other work in the room, acquire materials and just make some contacts in the industry,” collector Jim Berkenfield said. ABS master smith Kyle Royer (left) and BLADE Magazine Cutlery Hall-of-Fame® member Steve Schwarzer (right) admire the work of an exhibitor at a past BLADE Show. (Whetstone Studio image)

“If a maker says six months, don’t be surprised if it’s a lot longer,” Chris cautioned. “Many makers who are popular simply don’t take orders anymore, though it never hurts to ask nicely even though they state this. Others who do take orders will regularly have wait times in excess of a year. It’s not unheard of to wait several years! I generally don’t like deposits or paying in advance. A small deposit as a sign of good faith or for special materials is not out of the question, though.”

Hirsch doesn’t see a willingness to take custom orders as critical, but he does emphasize the need to manage expectations.

“I have talked to many knifemakers about this, and the ones that don’t take orders have valid reasons for not taking orders,” he explained. “I’ve had the pleasure of working with several knifemakers that do take custom orders and enjoyed the knives that they made for me. Before you ever place an order, you need to ask the maker about the things that are important to you and receive the answers that you want.

“The timeframe for receiving your knife should be reasonable based on the maker’s backlog,” Larry added. “I suggest that if you don’t have the patience to wait longer than expected, don’t custom order a knife. It almost always takes longer than promised or expected.

As noted collector Jim Berkenfield, deposits typically are not required on custom orders, though if the build has expensive materials such as mammoth ivory, he will often offer to pay for it in advance—or even provide the material himself. Schuyler Lovestrand’s curvaceous sub-hilt features a handle of mammoth ivory rich in golds and dark greens. (SharpByCoop image)
As noted collector Jim Berkenfield, deposits typically are not required on custom orders, though if the build has expensive materials such as mammoth ivory, he will often offer to pay for it in advance—or even provide the material himself. Schuyler Lovestrand’s curvaceous sub-hilt features a handle of mammoth ivory rich in golds and dark greens. (SharpByCoop image)

“Deciding on placing a deposit is a very personal decision. Sometimes everything goes perfectly and you’re happy about your decision. Sometimes life, sickness or death prevent a maker from starting or completing your project, and your deposit is lost. When you deal with an individual, it’s not like a factory. There’s no one to take over when the knifemaker is sick or gone, and there’s no company to call to complain or ask for a refund.”

Berkenfield says that depending on the knifemaker it isn’t uncommon to wait two years for a custom knife to be delivered, particularly if the maker is well known and has a following.

“When you’re collecting knives, you need to play the long game in terms of acquiring a piece from a specific maker,” he commented. “Typically, deposits are not required, although if the build has certain expensive materials, for example, mammoth ivory, I will often offer to pay for that in advance or even to provide it myself.”

Questions To Ask

A prospective buyer should not be afraid to ask a maker specific questions about the maker’s operation, a certain knife, or what the prospective buyer’s expectations should be as the proud owner of one of the maker’s pieces.

Does the maker supply a quality sheath with a fixed blade? Paul LeBatard does with his Field and Stream knife in D2 tool steel and amber stag scales. Overall length: 8.75 inches. (Jocelyn Frasier image)
Does the maker supply a quality sheath with a fixed blade? Paul LeBatard does with his Field and Stream knife in D2 tool steel and amber stag scales. Overall length: 8.75 inches. (Jocelyn Frasier image)

“I think it’s always good to ask a maker you’re not familiar with but interested in how they got into knifemaking,” Schluter recommended. “How long have they been making knives? Why do they enjoy it? Most custom knives are not inexpensive, and I think it’s perfectly reasonable to want to know about the maker. As many have said, ‘You buy the maker, not the knife!’”

Knowledge is power and Hirsch suggests that prospective customers invest in some research of their own before contacting a maker who interests them.

“There’s typically a wealth of information available online,” he related. “Ask other collectors their opinions. Find out the knifemaker’s preferred method of communication and what hours they are available to communicate with you. Remember that when you are talking with them during working hours you are taking them away from making knives. Be respectful of their time.”

Communication is a two-way street, so what is appropriate in terms of responsiveness from the maker?

“When a maker is at a show, yes, I think it’s important that he engage with people as they walk by—without being pushy,” collector Jim Berkenfield observed. Toby Hill (left) talks knives with a customer at the 2024 BLADE Show Texas.
“When a maker is at a show, yes, I think it’s important that he engage with people as they walk by—without being pushy,” collector Jim Berkenfield observed. Toby Hill (left) talks knives with a customer at the 2024 BLADE Show Texas.

“Like any business, there is a customer service aspect,” Schluter acknowledged. “Someone who is unresponsive to a sales inquiry might also be unresponsive if there’s a problem with a knife in the future. Of course, there’s the whole ‘knifemaker time’ thing so don’t expect Nordstrom-like customer service, either. For a knifemaker, I generally like to hear back from them within a few days to a week.”

Other Tells Of Good Knifemakers

Other tells of a maker’s work and business conduct might include the existence of a dedicated website; the inclusion of a sheath in the purchase of a fixed blade; the potential cross-over of a knife from everyday carry and field use to the collector’s case, and vice versa; and the relative cost of the piece in comparison to the popularity of the man or woman who made it may all weigh proportionally on the eventual appeal of a maker to the buyer. Some conditions, after all, will always remain subjective.

In the end, a prospective customer and his or her maker of choice should be able to accommodate one another, striking a balance in mutual respect and appreciation for their common interest. Communication is an important part of any relationship or business transaction. When a healthy give and take is present, both parties will tend to be more satisfied with the outcome of a discussion and, hopefully, a satisfied buyer and seller.

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Fantastic Voyage Of Gil Hibben and Paul Ehlers Collaborations

Mike Haskew
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Fantastic Voyage Of Gil Hibben and Paul Ehlers Collaborations

The collaborations of Gil Hibben and Paul Ehlers speak volumes without using words.

When the great design prowess of Paul Ehlers and the incomparable shop skills of BLADE Magazine Cutlery Hall-of-Fame® member Gil Hibben merged some 40 years ago, they produced a synergy seldom seen, elevating the knife industry to a new plane of creativity in the realm of the fantasy piece.

Following a trail blazed early by the likes of W.W. “Bud” Cronk, the pair brought vision and glimpses of other worlds from the realm of theory and the ephemeral to tangible, captivating and thoroughly gripping. During a custom knifemaking career that has spanned nearly seven decades, Hibben has been recognized as the author of extraordinary work, designing the first Browning hunting knives in 1968, earning a rightful place in the Cutlery Hall of Fame, and creating legendary knives for famed actor Sylvester Stallone in the Rambo film franchise, as well as the American Kenpo Knife for Gil’s martial arts sensei, Ed Parker.

Paul’s drawing of it and Gil wearing the gauntleted piece at an early ’90s Knifemakers’ Guild Show in Orlando. (Drawing courtesy of Paul Ehlers)
Paul’s drawing of it and Gil wearing the gauntleted piece at an early ’90s Knifemakers’ Guild Show in Orlando. (Drawing courtesy of Paul Ehlers)

Ehlers is well known for his work in film, writing, voice, design and illustration. He was hired to produce a poster illustration for the 1981 cult classic film Madman and found himself cast as the title character, delivering an amazing performance. Versatility has been his hallmark through the years, expressing his artistic talent through a variety of media. His interests are literally boundless and his talents have been displayed across a broad spectrum of the arts.

It was Ehlers’ wide range of interests that led to a fortuitous conversation and brought about the most renowned collaboration in fantasy knife history—and one of the greatest industry wide in custom knives. “It arose from creativity on both parts,” attested Linda Hibben, Gil’s wife and a key individual through the years of the joint effort. “It was intended to create things that were never seen before in the knife industry, taking up the challenge to be true artists.”

Linda Hibben said Alien was the biggest Gil Hibben-Paul Ehlers showstopper and it’s easy to see why. (Image of Alien by Mike Carter)
Linda Hibben said Alien was the biggest Gil Hibben-Paul Ehlers showstopper and it’s easy to see why. (Image of Alien by Mike Carter)

Paul remembered, “Gil Hibben’s knives were featured in every martial arts magazine that I read. I was familiar with the Parker knife and wanted badly to buy one of Gil’s knives. So, by the mid-1980s I had saved enough money and placed an order with him.” Hibben produced a custom survival bowie with a 10-inch blade, characteristic sawteeth reminiscent of his Rambo knives, and a handle in the style of the Parker knife. Pleased with the finished product, Paul told Gil that he was a designer and illustrator with a particular love for fantasy characters. He commented that he had always wanted to see his characters with stylized knives and swords to complement their presentation.

Gil responded enthusiastically to Paul’s offer of sending an illustration for his review. “Love to see one!” was the reply. Game on.

Ehlers calls the initial brush with collaboration a “chance meeting of kindred souls.” The illustration led Gil to the shop with the goal of producing a knife named the Shark. A short time later, the designer asked about the maker’s progress. Hibben’s response was electrifying: “I already made it and sold it!”

Paul Ehlers conceived the Dragonfly, drew it on paper and mailed it to Gil Hibben, who took care of the rest. They exhibited the knife at the 1983 Knifemakers’ Guild Show, where it sold for $3,000—an unheard-of price in those days. (Eric Eggly/PointSeven image)
Paul Ehlers conceived the Dragonfly, drew it on paper and mailed it to Gil Hibben, who took care of the rest. They exhibited the knife at the 1983 Knifemakers’ Guild Show, where it sold for $3,000—an unheard-of price in those days. (Eric Eggly/PointSeven image)

In a short time, the creative tandem gained momentum. Interestingly, their success may be linked to the fact that Paul does not make knives. “I admire, collect, use and draw them,” he commented. “But Gil Hibben makes knives.” By the time Gil and Paul brought their Dragonfly creation to the 1983 Knifemakers’ Guild Show, there was excitement but also some trepidation. “We were concerned about how to price it, whether it would sell and how it might be received,” Paul recalled. “Gil suggested that we put a price of $3,000 on it, and such a premium was almost unheard of in those days. But it sold!”

Ehlers had conceived the Dragonfly, drawn it on paper, rolled it up, and placed it in a mailing tube addressed to Hibben. When it reached him, Gil pursued the project with gusto even though the effort in itself was unprecedented. “Nothing like this had ever been made,” Paul advised. “But that didn’t stop him. He huffed and he puffed, he ground and he buffed and emerged from his shop holding the new Dragonfly.”

Unseen Realms

Gil Hibben made the Elf Dirk in 1984. The image for it sprang from Paul Ehlers’ fascination with gnomes, elves, giants and other mythical creatures. A spider dangles from its web, carefully crafted in a crevice of the handle. (Eric Eggly/PointSeven image)
Gil Hibben made the Elf Dirk in 1984. The image for it sprang from Paul Ehlers’ fascination with gnomes, elves, giants and other mythical creatures. A spider dangles from its web, carefully crafted in a crevice of the handle. (Eric Eggly/PointSeven image)

Through the years the Hibben-Ehlers team flourished, one teammate with ideas and the other with the astonishing ability to grind steel and finish creations that brought visions of light, darkness, other worlds, and realms unseen as the tangible, real and dazzling works that are known the world over. Paul’s imagination effectively pushed Gil to new heights of creativity. The designer’s mind had remained fortuitously free to imagine the fantastic and the elements of the outer limits of innovation

“My mind was left open to create,” Paul explained. “If I knew then what I know now it is possible my concepts may have been restricted by the ‘impossible’ factor. I know now what other makers mean when they ask Gil, ‘How the hell did you make that?’”

Naja was completed in 1993. Norman Leigh’s sculpted bronze cast of a cobra rises above the grip, gazing with inset cat’s eye jewels for eyes and baring fangs. Paul Ehlers stated he considers Naja perhaps the finest art knife he and Gil Hibben have ever brought to life. (Eric Eggly/PointSeven image)
Naja was completed in 1993. Norman Leigh’s sculpted bronze cast of a cobra rises above the grip, gazing with inset cat’s eye jewels for eyes and baring fangs. Paul Ehlers stated he considers Naja perhaps the finest art knife he and Gil Hibben have ever brought to life. (Eric Eggly/PointSeven image)

Hibben, on the other hand, has stood up to the challenge and then some, delivering time after time. As the collaboration aged like fine wine to more than 30 years, it had produced more than 40 pieces—knives that came to life, from the mist of imagination to the gleam of steel, sculpture and artistry. According to Linda, Gil once said, “I loved the challenges and making these pieces, each and every one of them. They made my creativity and skills set on fire! Paul’s dreams are my nightmares!”

Looking back, a turning point for the Hibben-Ehlers collaboration occurred in the 1990s when a representative of the Sultan of Brunei contacted Paul with the shocking pronouncement that his employer wished to purchase many knives produced by the pair, with the added kicker that “money is no object.” It was a compliment of the highest order and led to some remarkable achievements.

If it doesn’t have the signatures of both collaborators, it’s not a Hibben-Ehlers knife. Here’s how their signatures appear on Naja.
If it doesn’t have the signatures of both collaborators, it’s not a Hibben-Ehlers knife. Here’s how their signatures appear on Naja.

Throughout the collaborative years, Linda has been a tremendous contributor to the success of the enterprise. Gil is approaching his 90th birthday and suffered a stroke in the spring of 2016. However, he has been resilient and remains in touch with the custom knife community while Linda assists with his communications. Gil has stayed active in the shop and keeps up to date on the happenings in the knife community. “He still goes to his shop and even oversees knifemaking classes to this day,” Linda noted. “The only lingering effect from the stroke is he has trouble with words and numbers once in a while. He has no major lingering side effects other than that.” Ehlers, meanwhile, is quite busy with numerous endeavors, his creative energy as effervescent as ever.

St. George’s Axe is 22 inches long and features lost wax carvings by Richard Englers.
St. George’s Axe is 22 inches long and features lost wax carvings by Richard Englers.

Linda captured the spirit of the great team’s aspirations, commenting, “They wanted knives to be taken to another level of art and imagination—to create and make sharpened shapes in steel that had not been done or seen before, and show that thinking ‘outside the box’ and making those creations into tangible works of edged art took a tremendous amount of skill. Just look at some of the grind lines Gil was able to accomplish.”

Showstoppers

Through the lens of knifemaking history and the gleaming facet of fantasy, those who see and admire the vision of Gil and Paul will continue to gaze with wide-eyed wonder at their works, including some of the most famous. The Alien, for example, was created in 1986 from a single piece of 440C stainless steel. “It burst from my mind in 1986,” Paul recalled. “There are a myriad of extra blades, spikes and projections Gil calls ‘long horns,’ plus hooks and a leather arm gauntlet.”

St. George’s Axe is 22 inches long and features lost wax carvings by Richard Englers. Gil Hibben and Paul Ehlers (inset) exhibit their collaboration at the 1986 New York Custom Knife Show. (St. George’s Axe image by Eric Eggly/PointSeven; image of Hibben and Ehlers courtesy of Linda Hibben)
Gil Hibben and Paul Ehlers Exhibit their collaboration at the 1986 New York Custom Knife Show. (St. George’s Axe image by Eric Eggly/PointSeven; image of Hibben and Ehlers courtesy of Linda Hibben)

Linda noted, “The Alien was our biggest showstopper. This one got more attention at knife shows than any other. We allowed people to reach their arm into it and ‘wear’ the Alien, and in every instance the person’s entire demeanor changed. It was like they became powerful, and the smiles on their faces when posing for photos was and is priceless. Gil made a total of five of these Aliens, each one a bit different. Number five rests in our private collection, and to this day when people come over and actually hold or ‘wear’ it, the magic is still there. They become a ‘Master of the Universe’ for those few minutes.”

An early classic, the Elf Dirk was produced in 1984, and the image sprang from Ehlers’ fascination with gnomes, elves, giants and other mythical creatures. Hibben wrought its sleek lines in 440C with a reconstituted coral handle, 14-karat gold and garnets. A spider dangles from its web, carefully crafted in a crevice of the handle. Naja, completed in 1993, remains a favorite. The undulations of the cobra are almost physically felt as Norman Leigh’s sculpted bronze cast of the serpent rises above the grip, gazing with inset cat’s eye jewels for eyes and baring fangs. Gil’s expertise is on full display in this tour de force, and Paul considers Naja perhaps the finest art knife the two have ever brought to life.

Artists, innovators, visionaries and friends, Gil and Paul have created a body of work that speaks volumes without words, just towering interpretation and storytelling in thought and grind, idea and finish. Those who contemplate their many completed projects are often left speechless as well, awed by the intricacy, the timeless, tantalizing and touching renderings of their complementary experience.

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Knife Maintenance: The Pros Share Their Tips

Mike Haskew
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Knife Maintenance: The Pros Share Their Tips

Know how the pros keep their knives and sheaths in tip-top working order.

Tricks of the trade, the go-to products, and the techniques that stand the test of time and use are beneficial for those of us who put our knives to work around the house, at the office, on the farm and in the field. Keeping the knife in top-notch working order eliminates frustration and failure when it’s time to get a job done.

Fighting Corrosion

Fighting the battle against rust is ongoing with carbon steel. Long-time custom knifemaker Bob Dozier said, “Wipe the blade off. I’ve carried a folder since 2014 and use it every day. A lot of it depends on how the maker heat treats the blade.

“I established my reputation with D2 steel,” Bob continued, “and there are a lot of steels that hold an edge a little better, some that are more corrosion resistant, and some that are tougher, but just keep it clean and it won’t rust—the chrome on the outside is a few atoms thick. D2 is bright at first but will take a little bit of a dull look. Don’t worry about that in a using knife.”

BLADE Magazine Cutlery Hall-of-Fame® member Bill Harsey says oil the blade as well as part of routine knife maintenance.

“The one oil I use on folding knives is Kano Aerokroil,” he noted. “It’s a true oil and does not evaporate. Clean the knife and put it away dry after using it.”

Bob Dozier's D2 Steel
As Bob Dozier noted, he established his reputation with D2 steel. “Keep it clean and it won’t rust—the chrome on the outside is a few atoms thick,” he explained. “D2 is bright at first but will take a little bit of a dull look. Don’t worry about that in a using knife.” The blade of Bob’s Sisu has a D2 core laminated with sides of 410 stainless steel.

If that troublesome tinge of rust does show up, Bill Claussen of Northwest Knives and Collectibles reaches for a polishing cloth and paste. In more extreme situations, steel wool or wet/dry sandpaper can get the job done.

“We use Case’s Paste Metal Polish or Flitz Polish as a metal paste and corrosion protectant,” he remarked.

Other techniques and favorite products to prevent or remove rust include the careful use of steel wool when necessary, a preventive application of 3-in-One Multi-Purpose Oil, the combination of oil and Renaissance Wax, Wicked Wax, and even regrinding and repolishing in an extreme situation when pitting is present.

“I like 3M pads to remove rust on our malnourished edges out in the bush,” related bushcraft pro/knife designer Joe Flowers, “along with rust erasers for those fine knives some clients bring out with them. Ballistol makes good stuff including multipurpose oil in small single use packages that can be handy during hunting season when I also have firearms.”

Screw And Bolts

Loosening a bolt or screw that has frozen is a frustrating situation, but there are a few products that ease the task and a trick or two to employ when necessary. Cutlery Hall-of-Famer Dan Delavan of Plaza Cutlery offered, “I use WD-40 and chase it with an oil if needed, such as Formula 23 knife oil.”

Cutlery Hall-of-Famer Steve Schwarzer added a proviso.

3-in-One Multi-Purpose Oil lubricating a knife.
Keeping folder pivots operating smoothly is just one application of 3-in-One Multi-Purpose Oil during knife maintenance. Applied to the blade and other steel parts, it also serves as a rust preventative.

“Normally that would mean using a penetrating oil, but the other thing you can do is set up a carbide drill fixture a little smaller than the diameter of the stuck screw and drill out the screw,” he wrote. “You can also use an induction heater and stick the knife in there to help spit the screw out. Heat will break down epoxy but don’t get it over 300 degrees. Unless you’re skilled I wouldn’t advise it, but it beats pressing the handle off and can save the material if you’re careful.”

For loosening blades or screws that have seized up, other noteworthy products include AutoBright, Kroil Penetrant, CRC Electrical Silicone lubricant and Marble Oil. “The Marble Oil is [inexpensive],” ABS master smith Harvey Dean observed.

“It works well to get something unfrozen and I used it on a pocketknife a while back. Anyway, if you put a drop of oil on the blade or joint once in a while it sure does help.”

Harsey has a great tip for loosening troublesome screws or bolts.

“I go right to the Kano Aerokroil to start the rehabilitation,” he commented. “A lot of people take folders apart when they don’t have to do that. Get a box of cotton swabs with paper stems and hammer their cotton heads flat to fit inside the small spaces of a folding knife. You can do that to oil the knife up or to clear gunk out of it. The cotton swab will show you what you’ve got without disassembly.”

Edge Maintenance

Keeping a working edge sharp is a never-ending knife maintenance job, and Harsey has spent years making knives, designing them for many prominent companies, and putting them to work in the field.

“I like to use an EZE-Lap stick diamond sharpener or honing stone with a plastic handle,” he advised. “Hold the knife still in one hand and scrub on the blade with a good angle on the sharpening bevel, then turn it over and do the other side. The result is a remarkable working edge that will do in the field.”

Regrinding and repolishing a knife
Regrinding and repolishing may be required in extreme knife maintenance when pitting is present. Bob Dozier does the honors here.

Harsey also likes the Norton fine India sharpening stone.

“When we go out in the field, I have never traveled without one,” he commented. “I use a rubber drawer liner mat that I can unroll and put the stone on so it won’t slide around on a truck tailgate. That becomes my workbench, and I’m the sharpener for half a dozen guys out there. At other times, I might finish with some stropping with a little WD-40 and cream buffing compound in the leather.”

Sheath Maintenance

Schwarzer is a big fan of hot wax in both knives and sheaths.

“I hot wax everything,” he said. “I have posted it online a bunch. Paraffin wax in a turkey roaster is best, and when I make my knives I put them all in there and then wipe off the excess. It also turns any leather sheath into a form of Kydex. Put it in there for a couple of minutes at 300 degrees, wipe off the excess and form the sheath with your hand. It won’t scratch your blade like Kydex will.”

Dozier has a simple approach to sheath maintenance.

Renaissance Wax works polishing blades and prevents rust
Renaissance Wax works not only for polishing blades and handle materials but also for helping prevent rust and protecting leather. It’s good to have in your knife maintenance kit.

“Wipe off the sheath,” he noted, “and then put a tiny little bit of WD-40 on a cloth and wipe it down. You can also use neatsfoot oil. A little bit on a cloth will keep the dirt off. You can spray a little bit of WD-40 into a bottle cap and leave it on a shelf for four to five months and you have nothing more than cosmoline or grease that works for protection, too.”

Dean likes to protect his sheaths as well.

“I always put some kind of coating with wax or a spray aerosol finish on them,” he remarked. “I don’t recommend storing a knife in the sheath. I use American tanned leather, but some of the other leathers out there use salt in the tanning process, and that can cause problems with a blade.”

Harsey follows steps to make a leather sheath “knife friendly” so that one does no harm to the other. “When I hand build a leather sheath, the leather is always 10-ounce and tanned in vegetable oil,” he said. “It’s a straight, clean piece of heavy leather, and the preservative is either neatsfoot oil or a combination of one-third neatsfoot oil, one-third bees wax and one-third paraffin. That’s heated to 150 degrees, and I’m darn sure not to go any hotter or you could wreck your sheath. I preheat the mixture, paint some on, and put it back in the oven and repeat several times. Then wipe it off and let it dry. If I’m in the field and it takes more than just wiping the sheath off, something has gone wrong.”

Climate Control

Natural handle materials are always in need of some protection. Climate can cause expansion and contraction, while extreme heat and cold are detrimental, too.

“If it’s a wood handle, keep it dry and clean,” Dozier offered. “Don’t throw it in a bucket of water. Ivory needs to be dry too, and a little Navy oil or mineral oil or even a little oil off the end of your nose will help keep it from drying out too much.”

Dean adds a little advice for the owner/user who wants to maximize the longevity of their knives.

Flitz Polish as a metal paste and corrosion protectant
Bill Claussen of Northwest Knives and Collectibles uses Case’s Paste Metal Polish or Flitz Polish as a metal paste and corrosion protectant during his routine knife maintenance.

“People a lot of times just don’t take care of their knives,” he said. “I got a good damascus hunting knife back from a guy who said he had forgotten about it. He left it on the floor of his Jeep and never cleaned it. The thing was basically ruined. I made him a new knife, charged him, of course, and kept that other one myself. I had to regrind and rework it, but it wasn’t the knife it used to be.

“The main thing,” Harvey concluded, “is to take a little time with them.

Wash a knife off in hot water, the blade anyway, and don’t put them in the dishwasher! A lot of times, people take knives on hunting trips and leave them in the sheath or on the dashboard of their truck all day with the sun shining on them. Don’t do that! It’s bad. Natural handles can shrink and crack, and a windshield is like a magnifying glass.”

Try these tips. Test these products. And see for yourself how the pros actually make the best of owning and maintaining a knife in tip-top condition through the years.

For the knife and sheath maintenance items in the story, contact any of the knife suppliers who advertise in BLADE®. If that doesn’t work, enter the name of each applicable product in your internet search engine—all or almost all are offered by a wide variety of outlets.

More On Maintenance:

Knife Buying Don’ts: How To Avoid Cutting Pitfalls

Mike Haskew
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Knife Buying Don’ts: How To Avoid Cutting Pitfalls

Knife buying–particularly custom–can prove daunting. We gathered industry pros to give the top mistakes to avoid.

When it comes to acquiring knives, the informed buyer is most often the satisfied buyer when the transaction is complete. So in the spirit of friendly advice, BLADE® has enlisted the help of several knife industry pros to offer a few words on making the most of the knife-buying experience—or to put it another way, 11 mistakes to avoid when buying a knife.

Don’t Deal With Questionable Sellers

“A lot of it revolves around reputation,” said custom knife purveyor and collector Paul Farina of Farina Fine Arts. “Human beings can be different, but 80 to 90 percent of the people you meet out there are great. In the knife world, many of them will give you a refund if you aren’t happy.”

Dave Harvey of Nordic Knives echoed that sentiment. “Honest sellers are not hard to find, thankfully,” he said. “Look for those with years of experience. Generally speaking, dishonest sellers will not be in the business very long.”

Along the same lines, Daniel O’Malley of bladegallery.com cautions folks interested in buying online. “If purchasing online, make sure you are buying from a company that has been around a while,” he offered. “There are a lot of fraudulent websites out there these days—often ones that are trying to appear to be a well-known website. One dead giveaway that you may be on a fake purveyor website is if the prices are too good to be true. Unfortunately, you are unlikely to find a legitimate site selling knives for half the price of other legitimate sites.”

Don’t Buy Knives On Pictures Alone

“In most cases today, knives will be purchased online, and therefore you may have to judge the knife by photographs and listed descriptions,” O’Malley advised. “Since the value of the knife is greatly affected by small scuffs and scratches, it is important that the photos are clear enough that any imperfections will be noticeable.”

Along the same track, Harvey noted, “Pictures are great, but they never fully substitute for being able to see and hold a knife in person. Make sure you buy from someone or a dealer with a 100-percent-return guarantee. If you are not satisfied with your purchase, you should be able to return it in a reasonable period of time.”

Don’t Buy Knives On Steel Only

Jacob Gaetz forged the 4-inch blade of his fancy hunter
Daniel O’Malley advised that each year new miracle steels appear but often lose popularity after a year or two because they may not pan out. Conversely, tried and tested steels like CPM S35VN, Takefu SG2, 52100 and more are great benchmarks to test against. Jacob Gaetz forged the 4-inch blade of his fancy hunter from 52100. (Jocelyn Frasier image)

“I never talk to people too much about a particular blade steel,” commented Dave Ellis of Exquisite Knives. “I usually discuss with clients how the complete knife was made, how it was fashioned, and that is more important, I think. Someone may be enamored with a certain type of steel, but that is rare with my clientele and only a consideration in talking about the whole knife.”

Harvey reckons that few knife buyers take the “blade-steel-first” approach. “At least I would hope not,” he asserted. Farina added, “There are a few exotic blade steels out there right now, and these may be sought after just because they’re exotic. Also, some steels have been discontinued and knives with those steels may be selling because of the rarity.”

Taking the entire knife into account is the best way to reinforce a purchasing decision, according to O’Malley. “Knowing the stats on the knife is important,” he reasoned. “We want to know where it was made, who made it, in what country it was made, and what materials they used. That said, judging a knife by just the blade materials used ignores fit and finish as well as heat treatment quality. In some cases the identical steel at the identical Rockwell hardness can still have tremendously different edge holding. In fact, over the years I have found that the quality of heat treatment is perhaps even more important than the steel used.”

Don’t Buy Knives On The Handle Comfort

Lee Lerman, a custom knife judge
Daniel O’Malley said that even if it’s the best knife in the world, if you don’t like the way it feels it isn’t the best knife for you. Lee Lerman, a custom knife judge at BLADE Show 2024, checks the handle of one of the knives entered. In the background are observer Henry Wu (right) of the BLADE Show and judge Rodrigo Sfreddo (center).

“Getting a knife in hand and seeing what it feels like is ideal, though sometimes not possible if you are purchasing from far away,” O’Malley related. “I often advise potential buyers that even if they are holding the best knife in the world, if they don’t like the way it feels it isn’t the best knife for them. That said, some buyers feel a knife is comfortable just because it is familiar—similar to their last knife. They may have gotten used to the last knife and like the way it feels, but a different feel might actually be better, that is, a more ergonomic handle or lighter design. Sometimes it takes using the knife for a while before you know how you really feel about it.”

Don’t Adopt A Herd Mentality

“There are trends out there, but because I’m older and been around the art knife world so long, I’ve thought about the places to put my money,” Farina commented. “If you’re looking at an up-and-comer in knifemaking, check their quality, find out who taught them. That is how I get introduced to them. If they have been taught by an experienced maker, you can tell the quality, and the price may reflect in less money with younger guys.”

From the perspective of “hot styles,” Harvey remarked, “I don’t object to those who want to buy the ‘hot’ knives as long as they are styles and makers that they enjoy and collect. Buyers should always beware of ‘hot’ knife prices and not fall for overpricing.”

“What’s currently ‘hot’ isn’t always best,” O’Malley commented. “The knife industry develops relatively slowly and though each year we see new miracle steels come out, they often lose popularity after a year or two because they may not have panned out. Tried and tested steels like S35VN, Takefu SG2, 52100 and more are great benchmarks to test against.”

Don’t Overlook Makers By Name

Loveless hideout model in stag
Dave Ellis said that instead of buying 10 knives you can afford, save up and buy one made by Bob Loveless. A Loveless hideout model in stag and with the iconic Naked Lady logo would be a good place to start. (Exquisiteknives.com image)

Ellis looks long-term and sees intrinsic value in the known commodities. “I recommend the blue-chip makers,” he declared. “Instead of buying 10 knives you can afford, save up and buy that one Loveless. This year I’ve sold 14 Lovelesses and the pricing has not gone crazy. So, an entry level $5,000 knife is not so ‘out there’ for someone.”

According to Harvey, most big-name makers have an established collector following, which typically relates to a lasting market for their knives down the road. However, O’Malley points out the benefits of considering numerous makers.

“The knife industry is full of tiny workshops that are doing the best work in the industry,” he noted. “While there are also some great big-name makers, these smaller shops are more likely to provide more bang for your buck. Additionally, in many cases, small workshops may be putting more attention toward quality of heat treatment, which can result in much higher performance.”

Don’t Overrate The Investment Factor

“Buying for investment is something I love because of the fact I can make money on knives,” Farina explained, “but this is not a blue-chip investment stock. So do it for the passion and love of the product. However, if the goal is only for investment, then be very structured. Listen to an adviser. I had a customer come to me after spending a lot of money in four years. He wanted to sell and make 20 percent profit on all the knives [he had bought]. Maybe that would happen on some stuff, but it is a bit unrealistic.”

O’Malley added, “Knives can be a great investment. Over the years, I have seen many knives increase dramatically in price, though certainly there are some that hold their price and even some that go down. Picking the right knives for investment does take a time commitment. You need to research and know the maker and their work. How does the knife fit in the range of knives that maker creates? Will the materials hold up over time? Where is the maker in his or her career? Taking all this into account, it is possible to collect knives as a great investment, though keep in mind that even with the best research not every investment will work out.”

For Harvey, the investment path requires some preparation. “Smart buyers can and do successfully invest in certain knives,” he said. “This does require a lot of knowledge and patience, as you generally won’t see significant increases in value in the short term. For most buyers, I suggest buying what you like and enjoy for your collection, not expecting a large return for it upon sale.”

Don’t Exceed Your Knife Buying Budget

Jurgen Steinau fixed-blade knife
Dave Ellis recommended setting a price limit at auctions and don’t exceed it or you will find yourself paying a lot more than necessary. “I remember a particular Jurgen Steinau fixed-blade knife a few years ago when an overseas bidder and a guy from the Bay Area were in there. The knife went for $110,000,” Dave noted. “People were in there butting heads and then it became an ego thing.” Steinau’s unique style is reflected here in his Folding Knife LBS. (Eric Eggly/PointSeven image)

Ellis provides sound wisdom on auction bidding. “Set a price at the auction and don’t go over the limit and find yourself suddenly paying a lot more than you wanted to pay. I remember a particular Jurgen Steinau fixed-blade knife a few years ago when an overseas bidder and a guy from the Bay Area were in there. The knife went for $110,000,” he noted. “People were in there butting heads and then it became an ego thing. Also, don’t buy with an eye toward flipping the knife. Avoid bid ups like the plague.”

“Auction sites tend to have horrible photos, making it impossible to ascertain what a knife is really like—and what it is worth. Since fit and finish as well as condition are so important to value, figuring out what to bid can be near impossible. Additionally,” O’Malley opined, “auctions can be a way to end up paying much higher than a direct-from-maker price.”

Don’t Discount Second Opinions

“Second opinions are nice and not too hard to get on many knives,” Harvey pointed out. “There are online forums and other social media outlets where collectors share information on many makers and knives.” Take advantage, then, of the availability of information but consider the source always.

“Knives are pretty personal,” O’Malley observed. “What works for you might not work for your buddy. It’s always fun to walk around a show with someone so that you can bounce ideas off each other, but at the end of the day, buying what you like is probably most important.”

Don’t Buy Knives Under Duress

Never feel pressured to make a knife purchase. Don’t always accept the line that the knife you are considering could be gone in the next few minutes. Take a deep breath and make the most informed decision possible in the current environment. If you don’t feel totally positive, walk away.

“Many knives are literally one in the world,” O’Malley said. “This means that if you don’t buy it, there is a chance that it will be gone. Over the years, I’ve found a good way to evaluate is to ask yourself, ‘If this knife sells to someone else, in three to five weeks will I be frustrated and still want to purchase it?’ If the answer is no, you probably didn’t need to purchase the knife. There will always be others. There are, however, a few knives that I didn’t buy that even years later I wish I had purchased. Figuring out if this is one of those knives lets you know to buy it before someone else does. Any big collector has had a few knives they didn’t purchase quickly enough that they still regret not purchasing today.”

Don’t Always Discount Deposits

heat treatment of knives
Over the years of buying and selling knives, Daniel O’Malley said he found that the quality of heat treatment is perhaps even more important than the steel used.

“If a maker requires a deposit, he or she must be a good accountant,” Farina related. “Some are not businessmen. They are artists and machinists. So, it’s about reputation and feeling good about the maker you are working with.”

Trust is a big factor across the board. “Paying for a knife before it is completed can be complicated,” O’Malley maintained. “A well-regarded maker once summed up the problem: ‘It’s very hard to work on a knife that’s already paid for.’ That said, collectors often commit to a purchase, have a knife made, and don’t complete the purchase or just ghost [stop communicating with] the seller. For this reason, I feel it is reasonable to pay a relatively minimal deposit, 10 to 20 percent of the cost of the knife, when purchasing directly from the maker. If working through a purveyor and having a knife made, it isn’t unusual to have to pay the full amount up front since the purveyor is committing to the purchase for you.”

Stay Informed

Advice is free, for sure, but it comes from the voices of experience. When buying a knife, it pays to listen to those already engaging in the process. Of course, every situation is a bit different. There are always additional considerations. The bottom line is to approach a knife purchase on an informed basis. That translates into a confident buy!

More On Custom Knives:

Best Custom Hunting Knives: Is There A Consensus?

Mike Haskew
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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.”

Jerry Fisk’s Sendero hunter
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.”

Adam’s clip-point hunter
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.

Check Out More Outdoor Knives:

How Many Damascus Knives Did Bill Moran Make?

Mike Haskew
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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)
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)
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)
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)
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)
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.”

Dave Harvey, Nordic Knives
Dave Harvey, Nordic Knives

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)
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)
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.
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)
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)
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)
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.

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