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Everything You Wanted To Know About Arkansas Sharpening Stones

Mike Haskew
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Everything You Wanted To Know About Arkansas Sharpening Stones

Novaculite still rocks knife sharpening!

Timeless and iconic, it remains practical and complementary to other options today.

The novaculite sharpening stone is a wonder of nature. Almost pure microcrystalline quartz in content, this dense, fine-grained rock was formed from 318 to 416 million years ago during the Devonian and Mississippian periods in ancient seabeds and later pushed toward the surface with the peaks of the Ouachita Mountains of western and central Arkansas. Massive sedimentary layers ranging from 250 to 900 feet thick produced the stone, which takes its name from the Latin novacula, meaning “sharp knife” or “razor.”

From there, the stone was destined for a rendezvous with the knife blade, rendering a sharp edge that gets the job done and holding a place in working knife history dating back centuries.

The novaculite deposits in Arkansas were formed 318 to 416 million years ago and it takes plenty of mechanical muscle to push around the material. The deposits run from 200- to 900-feet thick, in turn the operations are substantial. And while the weathered novaculite is somewhat bland to the eye, once broken up the beauty of the natural material shines through. (Images courtesy of Chis Stillian)
The novaculite deposits in Arkansas were formed 318 to 416 million years ago and it takes plenty of mechanical muscle to push around the material. The deposits run from 200- to 900-feet thick, in turn the operations are substantial. And while the weathered novaculite is somewhat bland to the eye, once broken up the beauty of the natural material shines through. (Images courtesy of Chis Stillian)

Today, however, there is a bit of … well … friction as some may claim modern synthetic stones are eclipsing or at least competing with novaculite for some nebulous title of “best.” Synthetic stones often offer faster sharpening and convenience, while novaculite is valued for its refined finish and traditional appeal. Truth is that each has its place, and novaculite was and is a key participant in the knife-sharpening exercise.

“It gives a razor-sharp, polished edge with smooth feedback that many prefer over synthetics,” explained Chris Stillian, owner of Natural Whetstone, LLC. The company was founded by close friend David Davenport two decades ago, and when David passed away during the COVID-19 pandemic, Chris and his father, Shawn, kept the central Arkansas company going.

“The stones wear very slowly,” Chris continued. “Some last decades because they’re 99 percent plus pure quartz with no fillers. They’re natural, made in the USA and work great for chefs, woodworkers and knife users.”

Danny Kirschman founded Dan’s Whetstone Company, Inc., in Pearcy, Arkansas, in 1976, and his son Steve is currently CEO of the family venture. His roots in novaculite are long and deep. “The erosion-resistant quartz formations of the Ouachitas produced the finest and rarest natural abrasive in the world,” he offered. “Danny Kirschman’s opinion and what we share with others is that the one thing that sets novaculite products apart from other sharpeners is their unique crystalline structure. The novaculite stones wear less aggressively than most manmade abrasives due to the natural bonding of the crystals.”

Best Steel For Novaculite

Dan Kirschman, by the company’s largest saw, spent his formative years as a mining engineer, until his hobby of cutting and polishing novaculite developed into a full-time business. Dan’s Whetstones now has a 500-acre quarry and manufactures more than 300 different products from the stone. (Images courtesy of Dan’s Whetstone)
Dan Kirschman, by the company’s largest saw, spent his formative years as a mining engineer, until his hobby of cutting and polishing novaculite developed into a full-time business. Dan’s Whetstones now has a 500-acre quarry and manufactures more than 300 different products from the stone. (Images courtesy of Dan’s Whetstone)

Both Stillian and Kirschman agree that the disadvantages of novaculite usage lie in cutting speed and other aspects. Chris commented, “It cuts slower than diamond or water stones, so it’s better for refining edges than heavy profiling. It needs oil instead of water, can glaze if not cleaned and doesn’t bite hard on modern super steels. Top grades cost more because the dense material is rare.”

Steve added, “The most common complaint is their low abrasion rate. Because the stones are exceptionally hard and dense, they remove material much more slowly than synthetic stones. They are best suited for maintaining an already sharp edge rather than ‘hogging off’ metal to repair chips or reprofile a blade. There is no truly coarse Arkansas stone. Even the soft Arkansas is relatively fine compared to a coarse synthetic stone. Novaculite is composed of quartz, which has a Mohs hardness of around 7. While this is harder than standard carbon steel, it is softer than the vanadium and chromium carbides found in modern, high-alloy super steels.”

Further, since Arkansas stone is a natural product, every stone is unique and may exhibit internal flaws, cracks or variable grit. Oil is required to keep metal particles, or swarf, from clogging the pores, which leads to a bit more cleanup. Lubrication keeps the stone from “loading” with metal, which can reduce its effectiveness.

Similar to many sharpening systems, Arkansas stones of different grit sizes are used in conjunction. On the right is a soft stone with a courser grit, good for raising a burr and initial honing. On the left is hard stone, used for final edge polishing and day-to-day maintenance. (Image courtesy of Chris Stillian)
Similar to many sharpening systems, Arkansas stones of different grit sizes are used in conjunction. On the right is a soft stone with a courser grit, good for raising a burr and initial honing. On the left is hard stone, used for final edge polishing and day-to-day maintenance. (Image courtesy of Chris Stillian)

Novaculite works best with simple carbon and low-alloy stainless steels like 1095, O-1, 440C and A2. Since such steels are commonly found on hunting, working, kitchen, bushcraft/survival and everyday slipjoint and fixed-blade knives, a broad area of application exists. High vanadium super steels such as S35VN, M390, CPM-3V and others—often seen in premium chefs’ knives and high-end custom knives—are best served with diamond stones, for example, because their carbides are harder than the quartz in novaculite.

Reviving Arkansas Rock

Even the casual observer can, therefore, discern the proper employment of the novaculite sharpening stone with the blade steel that will produce the best results. One giant of the knife industry recognized the value of the Arkansas stone years ago and built a catalog empire on its sturdy reputation.

The late BLADE Magazine Cutlery Hall of Fame® member A.G. Russell began selling Arkansas sharpening stones in the mid-1960s after moving his family back home to northwest Arkansas from Marin County, California. During the move, he discovered that his whetstones had gotten lost in transit.

Novaculite is microcrystalline quartz in structure and while it can seem extremely smooth to the naked eye, at the microscopic level the formation’s cutting properties become evident. On the left is ultra-fine black stone at 5000x magnification and the right hard Arkansas stone at 2500x magnification. (Image courtesy of Dan’s Whetstones)
Novaculite is microcrystalline quartz in structure and while it can seem extremely smooth to the naked eye, at the microscopic level the formation’s cutting properties become evident. On the left is ultra-fine black stone at 5000x magnification and the right hard Arkansas stone at 2500x magnification. (Image courtesy of Dan’s Whetstones)

“He tried to buy replacements in local hardware stores, but none stocked them,” remembered A.G.’s wife and fellow hall-of-famer Goldie Russell, who runs the company today. “Having lived in Hot Springs, Arkansas, for a while when he was a teenager, A.G. knew that the only deposit of novaculite was in that area. A.G. went to Hot Springs and found someone who was cutting stones. He purchased stones and began selling them to local hardware stores.”

From there, A.G. bought ads in magazines, particularly Guns & Ammo and The American Rifleman. Soon enough, he became a supplier to Brownells, a major gun retailer, capitalizing on the mutual affinity of gun enthusiasts for knives. Together with the magazine effort and his own sales acumen, Russell re-energized the popularity of the Arkansas stone.

“The frequency of A.G.’s ad in magazines and then the offering of these stones in the A.G. Russell Catalog of Knives was very important in making these stones readily available nationwide through the late 1960s and the 1970s,” observed Goldie. “There is still a large quantity of the small stones that he had cut during those years in our inventory. That is how he started what became A.G. Russell Knives.”

It’s a misnomer Arkansas stone’s hardness corresponds to its color. Similar colors can be noted in different grades, as the coloration is purely a matter of trace mineralization in the stones. (Image courtesy of Chris Stillian)
It’s a misnomer Arkansas stone’s hardness corresponds to its color. Similar colors can be noted in different grades, as the coloration is purely a matter of trace mineralization in the stones. (Image courtesy of Chris Stillian)

Novaculite stones, therefore, maintain their place in the practical and the historical aspects of the knife industry, and their relevance is not likely to fade. Those who are familiar with their capabilities remain loyal. They appreciate the investment of time and effort required to bring out that razor-sharp edge, and there is something timeless and reaffirming in the process.

Novaculite Grades

The stones themselves are available in four major grades. “Users should be aware that color is not the determining factor in grading novaculite,” explained Kirschman. “Some users have been defining whetstone grades by color, but the same colors may be seen in more than one grade. Color is caused by trace minerals that are dispersed through the rock during sedimentary formation more than 350 million years ago and subsequent geological activity.”

The major grades of novaculite include the following:

  • Soft Arkansas: The most popular all-purpose stone often used by wood carvers, sportsmen, butchers, commercial knife sharpeners and even housewives who desire keen, polished edge in a minimum of time.
  • Hard Arkansas: A fine grit stone good for everyday maintenance and popular among woodcrafters and the dental industry.
  • Translucent and True Hard Arkansas: An extra fine stone with a glassy feel and used in industrial applications requiring an extremely fine polish. It appears in a variety of colors.
  • Black Arkansas: Sometimes referred to as “surgical black” stone, the finest grade abrasive available today, delivering a mirror polish.     
Among the most critical factors of using natural stones to sharpen knives is using honing oil. Oil keeps metal particles, or swarf, from clogging the stone’s natural pores, thus reducing its effectiveness. (Image courtesy of Chris Stillian)
Among the most critical factors of using natural stones to sharpen knives is using honing oil. Oil keeps metal particles, or swarf, from clogging the stone’s natural pores, thus reducing its effectiveness. (Image courtesy of Chris Stillian)

The proper method of sharpening with a novaculite stone involves preparation and practice. “It’s an oil stone, so put a few drops of honing oil on it,” advised Stillian. “Hold a consistent angle, 15 to 20 degrees for most knives, use light to moderate pressure, and take smooth strokes. Start on soft or hard if the edge is dull, and finish on black or translucent. Raise a burr, then lighten pressure. Clean with soap or solvent to avoid glazing. Strop afterward for extra keenness, if you like.”

Those About To Rock

According to Chris, consistent purchasers and users include enthusiasts, woodworkers and chefs who “keep buying them for the feel, longevity and heritage. Synthetics rule high-volume work, but real Arkansas novaculite—especially the rare translucent and black grades—still sell at a premium to people who want the genuine article.”

Steve sees emerging interest as well. “The rising D.I.Y. (do it yourself) sharpening culture is a major driver,” he commented, “with the hobbyist segment now accounting for nearly 35 percent of total whetstone sales worldwide. Online tutorials and a deeper appreciation for craftsmanship have fueled this demand. Sustainability is a driver, as well. Modern consumers increasingly view natural stones as a “green” alternative to synthetics.

“Niche premium positioning, even while high-end market saturation is slowing growth in North America to about 4 percent, means natural stones remain a staple for professional chefs who prefer them for maintaining blade integrity,” Steve concluded. “And technological integration means that manufacturers are now developing beginner-friendly kits and instructional digital content to tap into 62 percent of home users who are interested in traditional sharpening but lack confidence in the technique.”

The future presents an atmosphere of coexistence among the Novaculite and synthetic options. The global whetstone market topped $457 million in value in 2024 and is expected to reach $677 million within eight years. Natural stone demand should stay steady, supported by its faithful and traditional users while welcoming explorers to these Ouachita wonders.

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Feather Damascus: Blades Forged Light And Airy

Mike Haskew
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Feather Damascus: Blades Forged Light And Airy

The variations on damascus steel themes are endless. The possibilities are tempered only by the maker’s time at the forge and his or her desire to create.

Among these many variations, one pattern has recently captured the spotlight. These days, feather damascus is trending and custom makers are producing knives that turn heads, captivating buyers with the intricate layering that produces hard steel intertwined with the look of the light and wispy. Feather damascus offers a medium of both performance and artistic expression that influences every aspect of the maker’s creativity.

Ethan Kolar of Plummer, Idaho, describes his interest in feather damascus as “chaotic flow.” He explains, “The pattern’s center seam, where the jagged W’s converge, creates a flow in the blade which really adds to the overall confluence of the knife as well as creating a controlled chaos as the pattern explodes from the center filling out the blade.”

Kolar enjoys the hint of “jaggedness” and the center line that ties the blade together, and in the making of his feather damascus, his focus lies in test etching every restack from the forge. He sees the pattern in many different forms with the observation that “a pattern is not right or wrong but more of what the maker envisions and creates and what is right to him for his knife.”

The folding dagger Ethan composed includes a 3-inch feather damascus blade of 1084 and 15N20 steels with an engraved gold inlay and scroll worked 416 stainless steel window frame fitted with exhibition-grade white-lip mother of pearl. Liners are 15N20 file-worked and nitre blued, while the backbar of 416 stainless is engraved and sports delicate file work. Its overall length is 7 inches.

“Most of the inspiration I have while making damascus comes from envisioning my final product,” Ethan remarked, “what engraving will go with it, the handle embellishment, and a lot to do with the overall color of the knife, deciding whether the pattern will be brighter or darker.”

Steel On Fire

Winning Best Damascus at the 2025 BLADE Show West, Trevor Morgan’s “Torrent of Fire” chef’s knife includes a 9.25-inch blade of 1084 and 15N20 in a mix of W’s and straight layers with a fat core of 15N20. The knife’s overall length is 14.2 inches, and the handle is dark red tiger’s blood amboyna burl with a splash of sapwood for contrast. (Jocelyn Frasier image)
Winning Best Damascus at the 2025 BLADE Show West, Trevor Morgan’s “Torrent of Fire” chef’s knife includes a 9.25-inch blade of 1084 and 15N20 in a mix of W’s and straight layers with a fat core of 15N20. The knife’s overall length is 14.2 inches, and the handle is dark red tiger’s blood amboyna burl with a splash of sapwood for contrast. (Jocelyn Frasier image)

Another contemporary artisan exploring the feather damascus pattern is ABS journeyman smith Trevor Morgan. Having attended the Bill Moran School of Bladesmithing in Texarkana, Texas, in 2020, his goal with each feather damascus blade is to make the pattern “pop.” To achieve that look, his hand follows an artistic eye.

“Contrast, for sure, really makes any pattern cool,” said Trevor, “especially feather or mosaic damascus, larger pieces of dark and bright steel, gradients and that kind of thing. Also, out-of-the-ordinary stuff like feather [damascus] can be really cool to look at. Symmetry is always great with a feather pattern because it’s pretty easy to notice when something is out of whack with a feather due to the defined center. Complexity is also great. If it’s hard to figure out, all the better.”

According to Morgan, a resident of Apple Valley, California, the feather pattern can be challenging due to the hot-cut process, which puts enormous stress on the billet in somewhat weird ways and causes every forge weld to want to split open. The problem, however, can be mitigated by mig welding all the way around the seams. But this is his least favorite method of achieving the integrity of the billet because it requires grinding away the welds, wasting material and consuming time.

Trevor’s inspiration for feather damascus pieces comes from the world around him. “It’s places and people,” he commented, “from nature and the endeavor to make something organic and as lifelike as possible in steel. I regularly get swept up in the general zeitgeist surrounding the making of complex patterns. I see something on social media or somewhere, and I think, ‘Man, that’s really awesome! I’d love to try to make something like that.’ Then comes the real creative part, where I just get an idea of something that might look really cool and put it together.”

Morgan’s method is readily revealed in his featured piece, named “Torrent of Fire.” The knife includes a 9.25-inch blade of 1084 and 15N20 in a mix of W’s and straight layers with a fat core of 15N20. The knife’s overall length is 14.2 inches, and the handle is dark red tiger’s blood amboyna burl with a splash of sapwood for contrast.

Organic Appeal

Splitting the billet down the center to maintain symmetry is among the trickiest aspects of feather damascus to Steve Randall. He nails it on his frame-handle hunter, with the axis of the pattern fountaining from the mastodon scales in a balanced and spectacular fashion. (SharpByCoop image)
Splitting the billet down the center to maintain symmetry is among the trickiest aspects of feather damascus to Steve Randall. He nails it on his frame-handle hunter, with the axis of the pattern fountaining from the mastodon scales in a balanced and spectacular fashion. (SharpByCoop image)

Feather damascus has been a staple steel for ABS master smith Steve Randall for some time. He seeks a continual flow of the steel from the handle to the tip, and oriented so that the handle appears to actually hold a feather. “I was attracted to the feather pattern because of it’s a very cool, organic look,” he advised. “Like a snowflake, there are no two exactly the same. I’ve been forging feather damascus for at least seven years, and I’ve made several bowies and hunters.”

Randall, of Estancia, New Mexico, presents his feather damascus piece with frame-handle construction, showcasing mastodon scales with an overall length of 9½ inches and a blade of 4¾ inches. “Feather damascus is a more challenging pattern,” he said. “My tricks are patience and concentration. There are many welds involved in the pattern, which can contribute to cold shuts, which can destroy hours of hard work. The trickiest part is splitting the billet right down the middle and maintaining symmetry.”

While he describes the feather damascus forging process as complicated and labor-intensive, Steve sees the payoff in the harmony of the pattern and its related materials in the finished knife. “I always try to complement it with the best handle materials I have available,” he reasoned. “I prefer stag or ivory. If using wood, I avoid busy patterns and colors. I draw inspiration from many other makers. There are so many accomplished makers who produce a variety of feather patterns. It is one of my favorite patterns to forge because it can really accent the flow of the blade and give it a great overall look.”

Movement And Flow

While David Lisch doesn't feel he's hit the limits of his Mountain Man folder, the style of knife is striking with its feather damascus blade set in stag-tip handle. Copper hardware and pivot give the knife its antediluvian look, while the flowing pattern of the blade anchors it in modern forge techniques. (David Lisch image)
While David Lisch doesn’t feel he’s hit the limits of his Mountain Man folder, the style of knife is striking with its feather damascus blade set in stag-tip handle. Copper hardware and pivot give the knife its antediluvian look, while the flowing pattern of the blade anchors it in modern forge techniques. (David Lisch image)

It took a single demonstration by the great master smith Harvey Dean to convince David Lisch, who earned his ABS journeyman stamp in 2009 and his master stamp six years later, to try the feather pattern. “I was always attracted to feather damascus,” he remembered, “but around 2008 I had the chance to see Harvey Dean demonstrate it at an event at Josh Smith’s, and I went right home and made the tools needed and gave it a go. I’ve been making feather damascus since his demo, and my hat is off to Harvey.”

For David, the making of feather damascus is challenging, but he says book matching the blocks really helps with the constant flow of the pattern. Sometimes, he says, makers will intentionally disrupt the flow by spinning one block one way and one the other to enhance the look. If it is done intentionally, he advises, there is no wrong way to stack the blocks. Forging all begins with the initial stack, and David starts with a 12- to 15-pound billet, acknowledging that the pattern can be wasteful in material. He tries not to go too far or stop too short in the forging process and offers that sometimes less is actually more.

“I love feather damascus because it looks different from maker to maker,” added Lisch. “I like a feather with movement and flow, not too bold and not way too fine, something that is easy to look at. For me, the more the pattern follows the forging, the more I like it. The center should lift up into the bolster or ricasso, showing that the blade was forged rather than running off the blade under the ricasso, showing it was just ground into a shape that disrupts the flow.”

Lisch gained a measure of popularity with his Mountain Man 2 folder, and the pictured knife is an example of what he describes as a “deep dive” into the style while using stag tips. “I set out trying to create my own version of one of the oldest knife designs in America,” he remarked, “and I believe I did just OK. But I’m not finished. So far, I’ve made several versions of the folder and have taken it even further with help from my friend and mentor [master smith] Mike Vagnino.”

Lisch had brought together his feather damascus touch and innovative design composition by introducing a clocking adjustable pivot that he has incorporated into a slipjoint, linerlock, lockback and flipper, all in the Mountain Man style with bronze, copper, stag and, of course, feather damascus. He has yet to reach the outer limits of his Mountain Man creativity and says that more will come in due time.

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U.S. Military Daggers: Blades That Have Taken Point

Mike Haskew
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U.S. Military Daggers: Blades That Have Taken Point

Daggers have struck home the U.S. military’s point from the trenches of Europe to the jungles of Vietnam.

Through the years, the military dagger has been considered an essential piece of equipment for the soldier on the ground and the pilot in the air. As a second line of defense, the dagger must be accessible and capable of quick deployment, not to mention efficient at its job.
As U.S. military personnel have gone into action, their choice of daggers provides a window into their operational history and a view of their actual aptitude when seconds count. Design and dexterity are hallmarks of dagger use in the heat of a life-and-death situation, and these storied weapons of war have gained their place in the annals of close combat.

“A good friend of mine was a chopper pilot in Vietnam,” recalled BLADE® Magazine field editor Kim Breed. “The pilots carried the Gerber MK II upside down on their flight vests. When he was shot down, he and his crew chief went through their ammo; then they drew their daggers while they waited for pickup. They locked onto the enemy, rammed them through the side [with their daggers] and hung on. Then they took [the enemy’s] AK-47s away from them and got back into the fight. They defended themselves while Cobra gunships laid down suppressing fire and a rescue bird, a Huey, came and got them.”

Kim’s comrades might well have been killed in the melee had they not had their Gerber Mk II daggers when needed. Designed by Clarence “Bud” Holzmann, the knife gained legendary status during the Vietnam War, and though it was not standard issue, the Gerber Mk II was popular with U.S. troops—from airmen to special forces and everything in between. The wasp-waisted blade of the original remains a symbol of the close combat sometimes experienced in Southeast Asia, while its intimidation factor led to a redesign for the consumer market.

Later variants of the MK II included saw teeth, a feature added by Al Mar, who worked at Gerber at the time. This allowed the company to market it as a survival knife, not a fighting knife. Sporting goods stores and PXs were more likely to sell the latter. (Les George image)
Later variants of the MK II included saw teeth, a feature added by Al Mar, who worked at Gerber at the time. This allowed the company to market it as a survival knife, not a fighting knife. Sporting goods stores and PXs were more likely to sell the latter. (Les George image)

“It was designed the same as the [original] Mk II except it had serrations on both sides. The serrations might be considered a weak point,” Breed explained. “They had cast aluminum handles and a little thinner blade with that wasp waist. When you actually penetrated something, [the waist] helped along with a bit of extra weight up front.”

While the original Mk II may have been a stronger choice back in the day, the serrated Mk II is also a sought-after collectible. A knifemaker, Kim relates some owners have asked him to grind the serrations completely off this Gerber dagger. He declined to do so.
One more story Kim recounts is of a friend who found himself in hand-to-hand combat during a recon deployment in Vietnam. A Viet Cong patrol was walking past, and the last man in their line spotted the Americans in their cover. “Rather than alerting the whole enemy patrol, my friend took the last man down and used his knife,” said Breed.

Regarding the Mk II, knifemaker Les George added, “Al Mar was a designer at Gerber at the time and he added ‘saw teeth’ to the blade to make it a survival knife. The PX was happy to sell it as such since they didn’t want to sell a ‘fighting knife.’”

A great many modern military daggers trace their roots back to the legendary English Fairbairn-Sykes dagger. The one pictured is a third-pattern variant with a ring grip. (Les George image)
A great many modern military daggers trace their roots back to the legendary English Fairbairn-Sykes dagger. The one pictured is a third-pattern variant with a ring grip. (Les George image)

Industry veteran Bill Harsey also tells a story of combat survival with the Gerber Mk II in Vietnam. “I heard from a Medal of Honor recipient over dinner that his team was overrun by enemy combatants. In close-quarter combat, he drew his knife and stuck it in an enemy soldier. The knife stuck. Even with both hands he couldn’t withdraw it. I have no idea why the knife stuck and he didn’t offer any thoughts. But just to be careful, we have never made a wasp-waisted blade.”

Fairbairn-Sykes And Beyond

The Randall Knives Model 2 Fighting Stiletto bears the name of one of the most famous knifemakers in history and was developed as a robust alternative to the legendary Fairbairn-Sykes dagger. Randall has gone to war with several memorable designs, and according to Breed, the Model 2 is one of the best remembered.

“The blade is a little wider than the well-known Fairbairn-Sykes dagger,” said Kim. “The Randall was more handle-heavy, with only about a 5-inch blade, as I remember. It feels good in the hand. The guard is not sharp on the fingers, which was a challenge with some of the others. Any Randall daggers are collectible, just like Randalls in general. They didn’t make many of them. The Model 2, to me, is a cross between the Fairbairn-Sykes and the V-42 with a leather stack handle.”

The Randall Knives Model 2 bears the name of one of the most famous knifemakers in history—Bo Randall—and was developed as a robust alternative to the legendary Fairbairn-Sykes dagger. (Les George image)
The Randall Knives Model 2 bears the name of one of the most famous knifemakers in history—Bo Randall—and was developed as a robust alternative to the legendary Fairbairn-Sykes dagger. (Les George image)

The Marine Raider Stiletto remains a classic weapon of the World War II era, and it is said to have been the first Marine knife in the Corps’ history designed by a Marine, designed by Lieutenant Colonel Clifford H. Shuey. The story goes that this dagger was developed because the elite Raiders specifically requested a knife for close fighting.

Les offered some observations concerning the Marine Raider stiletto’s proper mission. “When the Marines were issued the Raider Stiletto in World War II, they had been specifically told not to pry with them or throw them,” he said. “So, obviously, they threw them at the first tree they could find and broke the tips off many of those knives.

“I think the Marine Raider Stiletto has the best handle design of all the many knives derived from the Fairbairn-Sykes daggers,” George continued. “It’s not just round. It has features and a shape allowing the blade to be indexed by feel. But the blade is very thin, the tip was fragile and the metal that they cast the handles out of reacts with air. They are all disintegrating. Eventually, we will lose them all.”

Knifemaker and military dagger aficionado Les George is a fan of the Marine Raider stiletto, seen by his collection of the dagger—new and old. (Les George image)
Knifemaker and military dagger aficionado Les George is a fan of the Marine Raider stiletto, seen by his collection of the dagger—new and old. (Les George image)

The handle of the Camillus-made Marine Raider Stiletto was fashioned with a die-cast zinc alloy, while the 7- to 7 ½-inch blade was made of blued or bright steel. The overall feel of the stiletto was hilt-heavy for optimal balance.

“The Marine Raider Stiletto has probably the smallest group of collectors since it primarily appeals to Marines,” commented George. “The rest can be categorized in different ways and have broader appeal. These knives and their more modern counterparts may not find their way to the battlefield as a matter of course, but the history they represent is invaluable.”

Knuckled Under

Les includes the iconic M1918 trench knife among those favored few military daggers carried in wartime by American soldiers. Its design was based on the French M1916 Avenger, and the military held field trials after initial 1917 and early 1918 variants were found inadequate. The M1918 was first made by Landers, Frary & Clark, a housewares and hardware company, production was later increased with Oneida, Henry Disston & Sons and the French manufacturer Au Lion.

George considers the knife's handle the best designed of all the Fairbairn-Sykes derivatives. Unfortunately, this is also the dagger’s weak point as the metal used for the handle reacts with the air and disintegrates. (Les George image)
George considers the knife’s handle the best designed of all the Fairbairn-Sykes derivatives. Unfortunately, this is also the dagger’s weak point as the metal used for the handle reacts with the air and disintegrates. (Les George image)

“The LF&C M1918 trench knife did not see action in World War I,” George explains. “It was made for that war, but it ended before the knives made it to Europe. A lot of them were melted down to reuse the handle material. When the Japanese attacked Pearl Harbor, they were the only knives in the system available to be issued to Marines … The M1918 saw use in World War II, Korea and Vietnam. I’m not aware of any combat use of the knife since then, but it is possible.”

The M1918 is distinctive with its integrated cast brass handle and brass knuckle grip designed for close combat, along with small spikes on the finger bows and a skull crusher pommel. The medium carbon steel blade has been criticized at times for being brittle, but nevertheless the knife is recognized as formidable in a hand-to-hand brawl.

“The M1918 was designed to be an effective tool for close fighting,” observed Breed. “With a positive grip and the brass knuckle guard, you didn’t have to stab, or you could hit your opponent with the skull crusher. There were dozens of confirmed kills with this dagger. It was not recommended to dig with them because they were prone to breakage or ‘bendage.’ You could drive that big brass handle into the dirt, but that half shaft that came down from the blade was short on steel and weakened the knife around the tang.”
The eye appeal of the M1918 makes the dagger collectible. “It’s pretty popular and one of the iconic knives of its type,” Kim concluded.

Many think of the M1918 as the quintessential World War I trench knife, though the variant didn't see action in that conflict, adopted too late. Based on the French M1916 Avenger, it was meant to replace the 1917 and early 1918 variants, which were found inadequate. (Les George image)
Many think of the M1918 as the quintessential World War I trench knife, though the variant didn’t see action in that conflict, adopted too late. Based on the French M1916 Avenger, it was meant to replace the 1917 and early 1918 variants, which were found inadequate. (Les George image)

Representative of the fighting men who carried them into harm’s way, these U.S. military daggers of the 20th century continue to fascinate with their double-edge blade, balanced feel and handle characteristics. Their place in history is secure, while collectors and knife industry veterans are doing their best to preserve and retell the stories that surround them.

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Custom Cleavers That Have Culinary Chops

Mike Haskew
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Custom Cleavers That Have Culinary Chops

Four custom makers push the boundaries of the tried-and-true cleaver.

An inclination toward the kitchen and a desire to design and deliver cutlery used on a regular basis has spurred a number of custom knifemakers to try their skill with the cleaver. It’s a staple in most kitchens and its uses are as varied as the food prepared there.

Robert Wayman of Middleburgh, New York, sees his cleavers as complementing years of food preparation. “I’ve done a lot of my own food processing, and I spent several years in commercial kitchens when I was younger,” he commented. “So, I’ve always had an affinity for culinary knives and especially cleavers. The cleaver is such an iconic blade. I love to make everything from heavy-duty butcher cleavers to medium-duty kitchen cleavers, Chinese cleavers and lighter-duty veggie cleavers for the kitchen.”

Robert’s featured cleaver is 14 inches in overall length with an 8-inch blade of pattern damascus go-mai five-layer steel. The core is a 100-layer random pattern damascus made of 1084 and 15N20 high-carbon steel and a layer of nickel and matching damascus cladding. The handle includes a damascus collar, stainless steel and G-10 spacers, crosscut carbon fiber, green malachite and blue coral accents, stabilized amboyna burl and a damascus butt cap with stainless mounting pins inset with blue coral framed with green malachite.

“I packed a lot into that one,” Wayman smiled. “As a maker, I’m all about sole authorship. I make all of my own high-carbon damascus steel in-house, and a cleaver provides a great opportunity to showcase that steel. One of my favorite things to forge is a large cleaver with an integral bolster.”

Wayman sees large blades, such as those associated with cleavers, as inherently challenging, while making a task-specific blade, such as a cleaver, adds another layer of complexity. Although they are labor-intensive and involve a lot of time in the shop, performance remains the key.

 “Overall weight needs to be taken into consideration, as well as how that weight is distributed for the style cleaver you are making,” Robert advised. “Ergonomics is an important consideration for any knife or tool, but especially for kitchen cutlery. Whether it’s in a professional or home kitchen, you’re making a handle that a chef or cook could use for hours of food prep on any given day. So, it must be comfortable.”

Edgy Ebony

Having served time in professional food service, practical utility is never far from David Jacobson’s mind. However, he isn’t afraid of adding some flourish to his creations, such as the gold-inlay signature near the spine of his mosaic damascus bladed and ebony scaled cleaver. (SharpByCoop image)
Having served time in professional food service, practical utility is never far from David Jacobson’s mind. However, he isn’t afraid of adding some flourish to his creations, such as the gold-inlay signature near the spine of his mosaic damascus bladed and ebony scaled cleaver. (SharpByCoop image)

David Jacobson’s integral 13-inch cleaver with ebony handle scales sports an 8¼-inch mosaic damascus blade of 1085 and 15N20 steels and a gold inlay signature—his first such accent. He used brass bolt pins to finish the ebony scale attachment.

“I love cooking and making cool chef’s knives and kitchen tools,” Jacobson related from his Felton, California, shop. “Edge geometry for chopping and balance are challenges, and fullers are nice when slicing vegetables for food release. Cleavers are not only for the kitchen. They are great for large fish processing at the dock, chopping through bone and restaurant back-alley butchering. The wide blade shows off the many designs in the damascus steel, and I chose a traditional profile for this particular cleaver. I’ve always liked a black handle with big brass pins—old school.”

Cutting Mustard

Given the amount of steel and the need to pay attention to minutia is what Bill Tyc figures steers most makers away from cleavers. Tyc achieves an intricate pattern on his cleaver-chef’s knife set through a simple mustard patina, but applied with a straight edge for a pattern he calls “Lines of Insanity.” (SharpByCoop image)
Given the amount of steel and the need to pay attention to minutia is what Bill Tyc figures steers most makers away from cleavers. Tyc achieves an intricate pattern on his cleaver-chef’s knife set through a simple mustard patina, but applied with a straight edge for a pattern he calls “Lines of Insanity.” (SharpByCoop image)

The pairing in Bill Tyc’s featured ensemble is stunning in its presentation. “The cleaver as well as the chef’s knife are made of 52100 high carbon steel from the NJ Steel Baron,” he remarked. “The handles are stabilized spalted tamarind from Wood Dynamics fastened with brass Corby bolts. The pattern on the steel is a mustard patina done with a ruler edge, hence the name “Lines of Insanity” pattern. The cleaver is 11½ inches overall with a 6¼-inch blade. It’s 3 inches tall and ¾ inches at the heel. I felt the spalted lines of the tamarind wood would look perfect with the mustard patina.”

Tyc, who resides in Waterbury, Connecticut, remembers making kitchen knives that did something no other creations had generated. He got immediate feedback from users.

“In fact, the first ‘kitchen’ knife I sold was a cleaver at the Mystic Knife Show in Connecticut,” Bill remembered. “A gentleman circled the floor three times, every time touching a cleaver I had on the table. Last pass, he picks it up and just says, ‘I’ll take it.’ My wife and I look at each other with a thumbs up, and off he goes. Well, the following year, the gentleman comes into the show, right up to my table, and says, ‘Last year I bought a cleaver from you.’ The wife and I again look at each other because we most certainly remembered. He says, ‘I have so much fun using that cleaver every day!’ I reached across the table, shook his hand and said, ‘I’ve been waiting 20 years to hear that! I could pack up and go home, I feel so good.’”

According to Tyc, many custom knifemakers shy away from cleavers because they require a lot of work. At just about any knife show, only a relative few are seen for sale. But he adds cleavers’ utility far exceeds their supposed kitchen niche, pointing out they are handy for camping, survival exercise, yard work and bushcraft as well.

“The most important things are balance and weight,” Bill observed. “A knife used as often as a kitchen knife or cleaver has to feel good in the hand, not just initially, but long term. You may find yourself using your kitchen knives for many hours through the week. You want it to be comfortable, not a labor.”

Veggies Beware

One of the unique advantages of the cleaver, Dan Tomplins points out, is the large canvas it allows for the steel. In the case of his nakiri—vegetable cleaver—its 81/2-inch copper mai blade can’t help but catch the eye, particularly with the steel’s blacked-out finish enhancing the patina'd copper. Note too, the hybrid octagonal/western-style handle made from amboyna burl. (SharpByCoop image)
One of the unique advantages of the cleaver, Dan Tomplins points out, is the large canvas it allows for the steel. In the case of his nakiri—vegetable cleaver—its 81/2-inch copper mai blade can’t help but catch the eye, particularly with the steel’s blacked-out finish enhancing the patina’d copper. Note too, the hybrid octagonal/western-style handle made from amboyna burl. (SharpByCoop image)

In 2016, Dan Tompkins began making knives, and three years later, he started Evolution Cutlery in Highland, New York. His kitchen knife work began simply because he wanted to make cutlery used on a daily basis, and his cleaver immediately attracts attention.

“The big square profile is a great canvas to show forging skills, especially if using mosaic damascus. It allows a lot of room to see the details in the patterning,” said Dan. The subject steel is Baker Forge copper mai with a blacked-out finish and layers of patina’d copper in the nakiri, or veggie cleaver, design. The handle is Tompkins’ hybrid octagonal/western style made from amboyna burl, heirloom fit to a copper and G-10 bolster. The cleaver blade measures 8½ inches, and the overall length is 13 inches.

“One challenge in making cleavers is getting the edge geometry perfect for the intended purpose,” explained Dan. “There are many different types of cleavers, so the proper geometry is an important consideration. Heavy-duty blades require a heavy convex edge, while veggie cleavers are best with a laser-thin edge. When it comes to kitchen knife ergonomics, not only do you have to have a good feel in the handle’s shape and contour, but you also have to have proper balance to make the knife comfortable to use all day. While cleavers will almost always be slightly blade heavy in balance, they should still be balanced not far in front of the handle … Balance can make a light knife feel heavy or a heavy knife feel light. In my opinion, even a heavy knife with proper balance is far more comfortable to use than a light knife with improper balance.”

 Tompkins sees the cleaver in action in varied settings, not just the kitchen. Camp chores like chopping wood or preparing food outdoors can be handled easily with a cleaver made for such adventures, and he makes the cleaver to fit the anticipated tasks.

Versatility is readily apparent in these custom cleavers, and their functionality is in lockstep with good looks driven by their makers’ creativity.

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Pull Of The Push Dagger

Mike Haskew
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Pull Of The Push Dagger

Master smiths explore the symmetry, skill and survivalist roots of a classic.

It’s part adventure with a bit of notoriety and a dash of creativity. For the modern custom knifemaker, several styles are brought to life with history in mind. And the push dagger is one of them.

Maybe seldom seen, but always intriguing, push daggers trace their lineage to a bygone era when self-defense at the card table or on the street meant quick deployment from a vest pocket. For sure, that perspective spurs some custom makers to insert the push dagger into their repertoire while the stylized and subtle blend of blade and handle combine for a unique test of shop skill.

“They’re a backup tool,” explained ABS master smith and BLADE Magazine Cutlery Hall-of-Fame® member Steve Schwarzer. “They were typically carried in the 1700s and 1800s along with a one-shot pistol. After that shot, the push dagger was the next position. It’s been around for a long time as an extension of your arm with a blade, and it is hard to take away from somebody that is skilled in its use.”

Schwarzer’s featured push dagger with stag handle and evocative faces carved on both ends is 5¾ inches long with a 3¾-inch blade of mosaic damascus steel. He has actually made two push daggers in this style and designed another for Benchmade about 20 years ago. “For me, they’re fun, and that’s why I like to make them,” he commented. “I’ve always had a fascination about them and adapted my martial arts background to training with them. The design traditionally is with a very short blade, and in martial arts, it has to do with the alignment of the hand and arm bones, along with the shape of the blade, which is double-edged traditionally. Everything in nature is curved for an effective cutting surface.”

Harvey Dean Tejas

Why a push dagger? Harvy Dean (inset) puts it succinctly, “They’re just cool.” That certainly holds true for his Tajas push dagger, with an elegant feather damascus blade, 24k gold raised vine work and a fossilized walrus tusk handle. At 16 1/2 inchces in length, Dean gave himself plenty of knife to decorate. (SharpByCoop image)
Why a push dagger? Harvy Dean (inset) puts it succinctly, “They’re just cool.” That certainly holds true for his Tajas push dagger, with an elegant feather damascus blade, 24k gold raised vine work and a fossilized walrus tusk handle. At 16 1/2 inchces in length, Dean gave himself plenty of knife to decorate. (SharpByCoop image)

Legendary master smith and Hall of Famer Harvey Dean enjoys the historical aspect as well. “They’re just cool,” he offered. “A lot of people made them back years ago, and there was the idea of concealing them in the vest. Some were made with nickel-silver scabbards and called lapel knives because they were pinned under the vest or coat lapel.”

Dean’s pictured Tejas push dagger is a departure from standard sizing, with an overall length of 16¼ inches, with an 11-inch ladder pattern damascus blade and handle of fossilized walrus ivory. But then, everything is bigger in Texas.

“I’ve always liked [master smith] Larry Fuegen’s push daggers, and his work has had a lot of influence on mine,” Harvey said. “You really make them like any other knife, and I usually do around two or three a year. I like to use ivory and damascus and a stag handle is next up. I don’t do many plain ones, and most of mine are with two-piece handles. As far as marketing is concerned, you’ve got to have that special person who likes them–but they do usually sell quick.”

Hawks Nest Custom Push Talon

Matt Hunter (inset) has always had a thing for concealed carry knives, but admits his mother-of-pearl handled push daggers were his first crack at the style of knife. Angular and wickedly attractive, the Nichols Slither Armor Core stainless damascus daggers were designed as a matching set with his HawkWing knife, also pictured. (SharpByCoop image)
Matt Hunter (inset) has always had a thing for concealed carry knives, but admits his mother-of-pearl handled push daggers were his first crack at the style of knife. Angular and wickedly attractive, the Nichols Slither Armor Core stainless damascus daggers were designed as a matching set with his HawkWing knife, also pictured. (SharpByCoop image)

Damascus blade, mother-of-pearl handle and variations on the push dagger theme highlight Matt Hunter’s work at Hawks Nest Customs. He is a huge fan of concealed carry knives and started down the road with a boot dagger, neck knife and then his Push Talon.

“I think any dagger is challenging due to the symmetrical grinds that are required,” he noted. “You’ve really got to nail each and every one of them or the entire build needs to be scrapped. These push daggers are made with Nichols Slither Armor Core stainless damascus and mother-of-pearl on Westinghouse black canvas Micarta liners.
“Believe it or not, these were my first push daggers,” Matt added. “These were originally made for a customer to match the HawkWing, which is also in this photo. I told him I was planning on doing a pair of matching push daggers, and he asked if we could do the mother of pearl to match his knife. So, I obliged.”

Zack Jonas Totem

A study in starkness, Zack Jonas’ Totem push dagger grabs the eye with its clean lines and depth of damascus. That’s a san mai steel with laddered W’s and faces in a 1,000-layer laminate with pure nickel. Adding to its Spartan charm are its gold handle accents. (SharpByCoop image)
A study in starkness, Zack Jonas’ Totem push dagger grabs the eye with its clean lines and depth of damascus. That’s a san mai steel with laddered W’s and faces in a 1,000-layer laminate with pure nickel. Adding to its Spartan charm are its gold handle accents. (SharpByCoop image)

The Zack Jonas push dagger featured is his Totem model with a blade length of 4 inches and an overall length of 6½ inches. Its gold handle accents complement a san mai steel with laddered W’s and faces in a 1,000-layer laminate with pure nickel.

“The push dagger is one of the few knives that is actually designed to be folded into a tightly closed fist,” the master smith explained. “That means you have to make sure the handle comfortably conforms to the shape of the human hand in that unusual position. A push dagger is not a particularly functional tool outside the very limited frame of hand-to-hand combat; if you don’t have a secure grip when you need it, you’ve got a real problem.

“There are few makers that come to mind as design influences,” Jonas concluded. “[Master smith] J.D. Smith’s early influence on my career is never far from my hand or eye. I also think of Peter Johnsson’s work as I’m designing. He has never done a push dagger that I’m aware of, but I like to try and channel the way he conducts tension through his lines. Peter and [master smith] Kevin Cashen both come to mind when I think of the functionality in any dagger.”

Andrew Meers Rose Of Sharon

A bold mix of materials, Andrew Meers utilizes carbon fiber, stainless steel,  gold and a splintered mosaic damascus to bring-together this 9-inch push dagger. The centerpiece of the knife is its elegant Rose of Sharron engraving with the gold backing. (SharpByCoop image)
A bold mix of materials, Andrew Meers utilizes carbon fiber, stainless steel,  gold and a splintered mosaic damascus to bring-together this 9-inch push dagger. The centerpiece of the knife is its elegant Rose of Sharron engraving with the gold backing. (SharpByCoop image)

Andrew Meers included a push dagger in his ABS master smith set, which was complete with forged trout iron texture engraved with pangolins. “Push daggers have a place in my childhood memory,” he related. “I remember seeing one at a museum and being fascinated. In retrospect, I think having mostly seen conventionally handled pieces in media and collections, the manner in which the hand engages the handle is what is attractive to me.”

Meers’ featured push dagger is his first with a carbon fiber handle and a groove in the blade. Its 7-inch damascus blade is framed in stainless steel, and the engraving depicts the Rose of Sharon with a gold-plated relief background. The entire push dagger is 9 inches long. Andrew produced his first push dagger in 2014 and has made several since. His longest measured between 23 and 24 inches.

Jean Potvin Romanesque

Since push daggers are illegal in Jean Pierre Potvin’s homeland of Canada, he had to come up with a clever trick to get his his Romanesque push dagger past airport security and to a buyer at a show in Las Vegas. His solution, remove the illicit handle and replace it with a toilet plunger handle. (SharpbyCoop image)
Since push daggers are illegal in Jean Pierre Potvin’s homeland of Canada, he had to come up with a clever trick to get his his Romanesque push dagger past airport security and to a buyer at a show in Las Vegas. His solution, remove the illicit handle and replace it with a toilet plunger handle. (SharpbyCoop image)

“This push dagger is Roman in style,” remarked Jean Pierre Potvin. “It came about quite by chance. I rarely design in advance when I create. I prefer to let my imagination run free and follow new ideas that present themselves during the making process. During the making, I saw that it had a somewhat Roman style, and I continued in that direction with this result.”

Potvin’s push dagger measures 8 inches overall with a 4½-inch blade of damascus in 15N20 and 1084 carbon steel. The handle is fashioned from stabilized walnut burl and brass furniture. He had previously made only one push dagger. That was in 2022, and it was much smaller. “I had a buyer at the Nashville knife show,” he remembered, “and I had packed it in my luggage to take there. But when I got to the Montreal airport, it was confiscated by airport security.”

Since push daggers are illegal in Canada, that experience inspired Jean Pierre to remove the actual handle and replace it with a toilet plunger handle the next time he traveled with a push dagger. He made it to Las Vegas that second time and reattached the original handle after arrival. “It’s really funny because it’s the same dagger, but having a cross handle makes it illegal,” he smiled. “Sometimes you have to use tricks to get what you want.”

Somehow, the push dagger and its adventurous history seem to fit right in with Potvin’s novel experience.

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BLADE Show 2026: Thriving At 45

Mike Haskew
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BLADE Show 2026: Thriving At 45

Forty-five shows in, the edge-travaganz’s remains the beating heart of the knife world.

Each year, the BLADE Show draws thousands as the knife industry’s perennially premier event. Now celebrating its 45th anniversary, BLADE Show has grown from humble beginnings at the Drawbridge Motor Inn in Fort Mitchell, Kentucky, in 1982 to a hub that stirs enthusiasm, sparks lively discourse, facilitates buying and selling and energizes the world of cutlery like no other.

Knife enthusiasts and aficionados of all types, makers, purveyors, factory representatives and collectors have crowded the floor of the show regularly, from the greater Cincinnati, Ohio, area to the World Trade Center in Knoxville, Tennessee, to its present home in Atlanta. Memories have been made, deals struck and a rising tide has lifted all.

“We originally said we were going to do one show a year,” remembered Bruce Voyles, BLADE Magazine Cutlery Hall of Fame® member and longtime publisher of BLADE® Magazine. “The goal was to make it more than a show. We loved the original venue in the Cincinnati area, but we outgrew it in two years, moving to 70,000 square feet in Knoxville by 1985 or so, with 700 tables, and then to Atlanta, where there is an airline hub and more international people were able to attend.

From the right, Bob Loveless, J.W. Denton and Myra and Durvyn Howard enjoy a dinner after a day on the BLADE Show floor. The show is as much a social gathering as it is an industry event. (John Denton image)
From the right, Bob Loveless, J.W. Denton and Myra and Durvyn Howard enjoy a dinner after a day on the BLADE Show floor. The show is as much a social gathering as it is an industry event. (John Denton image)

“Nobody had gotten such an incredible group of people together in one room before, and from it some amazing things happened,” Voyles reflected. “Sal Glesser of Spyderco came up with the idea for collaborations, and that really began at the BLADE Show as manufacturing people wandered into the handmade area–and it happened! We built the show on borrowing ideas from others and adapted it for all we could, trying to minimize mistakes we had seen in other shows.”

Through the years, the BLADE Show has been characterized by its exchange of ideas, vigorous commerce, displays of remarkable collections, professional demonstrations, honors for the industry greats and much more. Voyles smiled, “It just went gangbusters!”

And so, while the BLADE Show is in its 45th year, many have made the annual pilgrimage time and again. They acknowledge the impact the event has had on the knife industry and reflect on their memories and its true significance. The show has evolved, experienced growing pains and reached new heights of influence–but its dynamic energy has never waned, even in these days of the internet and instant access to information.

Knife Family Reunion

From the start, BLADE Show was red hot. Documenting the first show at the Drawdridge Motor Inn near Cincinnati, Ohio, the article from the July/August 1982 American BLADE estimates more than 7,000 knife enthusiasts showed up.
From the start, BLADE Show was red hot. Documenting the first show at the Drawdridge Motor Inn near Cincinnati, Ohio, the article from the July/August 1982 American BLADE estimates more than 7,000 knife enthusiasts showed up.

“The early BLADE Shows were run by Bruce,” commented ABS master smith and custom purveyor Dave Ellis. “Over the years, ownership has changed and the crowds have grown. Now there are two rooms to hold all of the table holders. The lines to attend start days in advance and eager folks flood in to be first to their tables of choice. The seminars have grown, and celebrities, musicians and folks from all walks of life attend with the expectation of purchasing that special piece they have saved all year for.”

During his active days as a bladesmith, Ellis attended shows with greats like Hall of Fame legend Bill Moran and master smith Jerry Fisk. He remembers sitting in “the Pit” at Atlanta’s Waverly Hotel, where friendships were forged and discussion flourished.

Hall of Famers Daniel Winkler and Karen Shook were attendees in the 1980s, and their first impressions were lasting. “It was overwhelming to know there were that many people making knives and to see the diversity,” Karen recalled. “The most striking memory is the sense of community and camaraderie. We did not know who the legends were at the time, but when we got to know them, we learned of a group of great talents with great passion for knives and the knife community.”

Among the aspects that set BLADE Show apart from other knife shows is the inclusion of factory knives. This has become an important part of the industry, as companies vie for the coveted Knife Of The Year award. Spartan Blade nabbed the honor in 2024 with its wicked Clandestina.
Among the aspects that set BLADE Show apart from other knife shows is the inclusion of factory knives. This has become an important part of the industry, as companies vie for the coveted Knife Of The Year award. Spartan Blade nabbed the honor in 2024 with its wicked Clandestina.

Karen fondly remembers sitting in the Pit. “It was like a family reunion. Almost every face became familiar. The show and the promotion of the same have attracted interested parties and given makers the opportunity to meet people and educate attendees as to why custom knives cost more than your typical hardware store hunting knife.”

Magic Of Knives In Person

When UK-based custom scissor maker Grace Horn attended her first BLADE Show in 2003, she was expecting her second child. “That child was conceived with the knowledge that I had to attend and not be too pregnant to do the transatlantic flight,” she laughed. “I have been attending every year since, and the changes have been fascinating. The fluxes of the industry are so much easier to see in a microcosm at a show … a snapshot of the industry at a point in time. Even in this world of increased social media engagement, nothing replaces the actual interaction between people. I love the sense of community that comes with the BLADE Show.”

Collector Chris Schluter agrees. “These days, so much of knife collecting takes place via social media,” he said. “It’s been great for sure–online sales, frequent interaction with makers and collectors. There’s still not a substitute, though, for meeting people in person and handling knives in person. For collectors, this is seeing your favorite makers in person and also walking by that table with a maker you’ve never heard of and stopping because something caught your eye. It’s not just meeting people during the show. It’s also after hours in “The Pit” and nearby restaurants and bars where people have time to chat. The BLADE Show is always something I look forward to, and I think many makers and collectors see the show as a sort of annual ritual that they really try to go to each year.”

From top, knives from Hall of Famer Bill Scagel, CAS and Hall memeber Bill Moran. Imagine seeing so many great creations in one case. Through the years, it's become commonplace at BLADE Show. (Dave Ellis image)
From top, knives from Hall of Famer Bill Scagel, CAS and Hall memeber Bill Moran. Imagine seeing so many great creations in one case. Through the years, it’s become commonplace at BLADE Show. (Dave Ellis image)

That pervasive energy, the smiles and the renewal of each acquaintance team up with the latest across the knife world to make the BLADE Show even more relevant in today’s environment. “The BLADE Show has made the careers of custom makers,” declared renowned knife innovator Ernest Emerson. “Before the internet, how could you find out about custom makers and their knives? BLADE Magazine was it, and the readers of BLADE Magazine would go to that show. Still, there is no motivation like seeing what the other guys are making.”

Emerson’s following is proof positive that the BLADE Show complements a career. The throng that gathers at each show to purchase his knives and those of other makers gave rise to the lotteries that are commonplace these days.

“The BLADE Show has pushed the knife world to outer space,” assessed Loveless knives expert and purveyor John Denton. “People keep coming back because it has something to do with the love of custom knives—one on one with makers, dealers, collectors—we all love the same thing. So, it is so much fun to see everyone. It feels like family. We all come back because we have all we need at the BLADE Show. The future is here, and now, so I just hope the magic stays.”

BLADE Show launched during the golden years of custom knives in the 1980s. But don't think the best years are behind. Contemporary makers, such as Brazilian Dionatam Franco, continue to wow with creations like his 2023 Best of Show dagger.
BLADE Show launched during the golden years of custom knives in the 1980s. But don’t think the best years are behind. Contemporary makers, such as Brazilian Dionatam Franco, continue to wow with creations like his 2023 Best of Show dagger.

That magic was indeed, at times, like catching lightning in a bottle. “It was things like [Hall of Famer] Bob Loveless staying with Wayne Clay, and once the show ended for the day, we all went out to eat,” Denton commented. “Then, at the hotel, you just looked around the room, and the knifemakers of the world were all pretty much in the same place. You could listen to Loveless and [Hall of Famer] A.G. Russell discussing things. Over on the couch was [Hall member] George Herron. Then you saw Bill Moran relaxed next to him. It was all bigger than life.”

From Show To Spectacle

Les George was a young knifemaker when he attended his first BLADE Show at age 25. “I don’t know if I can say it’s better now because it’s been amazing from the very first time,” he remarked. “On top of being a trade show for knives, it’s the number one social event for this business. I see some friends only at the BLADE Show, even though I’m in touch with them all the time. The BLADE Show is a huge fixture in my life, and the whole year pivots around the June trip to Atlanta.”

Of course, many others would say the same thing. Like the proverbial sun, the BLADE Show is the center of the knife community’s solar system. Its atmosphere sheds radiant light on the industry. Its gravitational pull is virtually irresistible. Its intensity is nothing short of “white hot”.

A couple of master smiths—Jason Knight (left) and Dave Ellis (right)—rub elbows at the BLADE Show. (Dave Ellis image)
A couple of master smiths—Jason Knight (left) and Dave Ellis (right)—rub elbows at the BLADE Show. (Dave Ellis image)

Through change and reinvention, the BLADE Show remains a driving force in its 45th year. And even though the computer screen and cell phone add to the communication milieu, those who know what the BLADE Show is will accept no substitute. Here’s to 45 more years.

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Rockin’ The Joint: Haunting Hunt For Slip Joint Perfection

Mike Haskew
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Rockin’ The Joint: Haunting Hunt For Slip Joint Perfection

These slip joint knives overcome the mechanical challenges of the style to qualify as works of art.

The slip joint is the most recognized of any folding knife design. Variations on the theme continue to guide the custom knifemaker and the consumer through a journey of creativity and craftsmanship that is indeed endless.

The latest slip joints are true to this standard and don’t disappoint in looks or legs—easy on the eyes while walking and talking at the same time. They complement their makers’ personalities and demonstrate their skill sets in fit and finish, as well as mechanics. They provide pure inspiration for collectors and buyers alike, setting their own standard of excellence.

Standley Caldwell Five-Blade Cattle Knife

“The five-blade cattle knife is a very difficult build,” Stanley Burzek confesses. Not only are aesthetics at play, but mechanical aspects, such as the blades clearing frame and timed right, not to mention executing multiple grinds. Tackling more complex slip joints has been a natural progression for Stanley. The Texas maker began with single- up to three-blade stockmen but saw the more difficult projects as pushing his craftmanship to the next level. (Jocelyn Frasier image)
“The five-blade cattle knife is a very difficult build,” Stanley Burzek confesses. Not only are aesthetics at play, but mechanical aspects, such as the blades clearing frame and timed right, not to mention executing multiple grinds. Tackling more complex slip joints has been a natural progression for Stanley. The Texas maker began with single- up to three-blade stockmen but saw the more difficult projects as pushing his craftmanship to the next level. (Jocelyn Frasier image)

 A slip joint maker for 18 years, Stanley Buzek of Caldwell, Texas, brought a beautiful five-blade cattle knife to life recently. Featuring a CPM 154 hollow ground blade with 416 stainless integral bolsters and liner, along with stag handle scales, the knife was a particular challenge.

“The five-blade cattle knife is a very difficult build, getting all the blades timed and working properly with everything flush in all positions,” Stanley explained, “and getting the blades to clear inside the frame in such a small area. The multiple offset grinds and the dagger grind of the awl blade make it especially challenging.”

Tackling the cattleman works right into the increasingly difficult projects Stanley has pitted himself against—even if it was a daunting proposition. “The five-blade was just a natural progression from the single-blade trapper, two-blade, three-bladed Stockman, and so on, to push myself to the next level of knifemaking,” he confided. “Actually, the hardest part was just getting over my fear of screwing it up and getting started on the build. It is an intimidating knife to build, having to pack so much into such a small area that you can paralyze yourself with the fear of getting started.”

Buzek got the pattern for the five-blade from Tim Robertson. He drew inspiration from the work of Tony Bose, whom he credits with bringing the pattern back. He has also seen photos of Reese Bose’s take on the pattern.

“I have received help from many great makers through the years,” Stanley reflected. “Bill Ruple and Rusty Preston were a huge help, and the South Texas Slip Joint School that I went to back in 2011 really increased my knowledge in how slip joints actually work. Right now, a lot of credit goes to Tim Robertson for pushing me and helping me with problems and us bouncing ideas off each other.”

Buzek makes all his slip joints with integral liners and bolsters accompanied by jeweling on the interior. He prefers slanted bolsters while gravitating toward natural handle materials such as jigged bone, mammoth and stag. “I think the single-blade slip joint will be the most popular for a long time for ease of carry and ease of build in the custom world,” he predicted. “Multi-blades, though not as popular, will push makers to step outside their comfort zone and show collectors and the general public alike the technicality and perfection and precision at which some of these pieces are made and will help makers improve their overall methods.”

Ted Friesenhahn Two-Blade Trapper

Like most custom makers, the most challenging aspect of the slip joint for Friesenhahn is getting the rise and fall of the blade correct. Add in embellishments, like the delicate vine filework down the center of his trapper’s handle, and the project becomes a taxing undertaking. (SharpByCoop image)
Like most custom makers, the most challenging aspect of the slip joint for Friesenhahn is getting the rise and fall of the blade correct. Add in embellishments, like the delicate vine filework down the center of his trapper’s handle, and the project becomes a taxing undertaking. (SharpByCoop image)

When Ted Friesenhahn took up the task of making his two-bladed trapper, he chose to make the second blade a “simmy” skinner. “This is the most popular slip joint, especially in Texas,” said the resident of Seguin, who has been a toolmaker since the age of 18. “I’ve worked in several different tool shops and have had the pleasure of teaching mill classes at hammer-ins.”

For his trapper, Ted chose a hollow ground blade of CPM 154 with a 416 stainless steel frame and bolster and a jigged bone handle. He added, “All of my knives have integral liners, and in this knife, the center is left standing. I have had this idea in my head for a while before I finally did it. I wanted something different and to be able to embellish it, so I chose to do vine filework.”

The most difficult aspect of the slip joint for Friesenhahn is common to most custom knifemakers—getting the rise and fall of the blade correct and flushed at closed, half stop, and open positions. “Of course, the walk and talk are key after all that fit and finish,” he said. “My first knife was an Old Timer Stockman that I had when I was growing up in the country. I have always carried a pocketknife, so like most makers and knife enthusiasts in this area, I had heard of Bill Ruple.

Ted friesenhahn in his shop.
Ted Friesenhahn in his shop.

“Many years ago now, Johnny Stout and [ABS master smith and BLADE Magazine Cutlery Hall of Fame® member] Harvey Dean put on a hammer-in at Johnny’s shop in New Braunfels, Texas, where I first met Bill Ruple,” Ted continued. “He was teaching the slip joint classes, and he had a jig he came up with to measure the rise and fall of the blade and spring. It came to be called the Ruple jig … I still use this jig on every knife I build.”

Interestingly, Friesenhahn sees variations on patterns as emerging in popularity. “The current direction is in patterns being turned into different patterns,” he said, “in multi-blades like the stockman lockback whittler and sowbelly whittler. There seems to be a craze with the whittler, and of course, I have one of these variations in the works.”

Bill Burke Single-Blade Trapper

“This knife came about as a class demo for slip joint folders that I taught at Jim Poor’s Flatland Forge in Tuscola, Texas,” said Bill Burke of his single blade trapper, with a 3-inch stainless damascus blade and blacklip mother-of-pearl handle scale. (SharpByCoop image)
“This knife came about as a class demo for slip joint folders that I taught at Jim Poor’s Flatland Forge in Tuscola, Texas,” said Bill Burke of his single blade trapper, with a 3-inch stainless damascus blade and blacklip mother-of-pearl handle scale. (SharpByCoop image)

Master smith Bill Burke of Boise, Idaho, recently produced a handsome single-blade trapper with a hollow ground 3-inch blade of stainless damascus steel, blacklip mother-of-pearl handle scales, and 416 stainless integral bolster and liner.

“This knife came about as a class demo for slip joint folders that I taught at Jim Poor’s Flatland Forge in Tuscola, Texas,” said Bill. “The pattern for the class was the ever-popular large single-blade trapper. I added my personal preferences of filework and bolster fluting to this knife, as well as incorporating a piece of Jim Poor’s waterfall pattern damascus into the blade. The only guide I had was a pattern drawn on a piece of paper and e-mailed to me by Luke Swenson.”

Burke has found the most challenging aspect of the slip joint to be mechanical, sharing that observation with other makers. “The most difficult part of any slip joint, at least for me, is getting the timing right so that the spring is level with the frame/liners in all three positions, closed, half stop and open, while also keeping the end of the spring even with the end of the tang in the closed position,” he commented.

“I made my first slip joint folder in about 2001,” Burke continued. “It was a large trapper like this knife. I traced a friend’s knife on a piece of paper and used calipers to measure the dimensions of the tang. This knife was made because I had carried a slip joint pocketknife with me since I was about 5 years old. I can remember sharpening a pencil for a first grade teacher with my pocketknife.

“Over the years, I continued to make slip joints, and they did get better,” he observed. “But I always struggled with the spring timing. Fast-forward 16 years, and a friend of mine from Australia, [journeyman smith] Bruce Barnett, and I went to visit the maestro of the South Texas Slip Joint Cartel, Bill Ruple. We were at Bill’s shop for four days making slip joints. While there, Bill taught me the proper use of the Ruple jig, that little contraption he had put together to make timing of a slip joint something of a science instead of a swag. This little bit of knowledge changed my slip joints from being functional to well-working tools that I am proud of. Bill Ruple and Luke Swenson continue to motivate me to make better slip joint knives.”

As a master smith and forger of knives, Burke sometimes takes on that dimension completing the slip joint. “The only challenge is forging the steel, whether damascus, carbon or stainless, which is not commonly forged,” he advised. “Most people who do forge do not actually forge folder blades but instead forge the steel and then stock remove the blade from the forged steel. There are some who will forge damascus folder blades to get a specific pattern of damascus to follow the curve of the blade shape. This can be seen in the knives made by Owen Wood, Tim Foster, [master smith] Mike Quesenberry and a few others.

“I have forged san mai and damascus folder blades to shape when circumstances made it necessary but do not commonly do so,” Burke concluded. “The challenge making a slip joint knife from forged materials in my opinion is no different than doing stock removal with the possible exception of san mai blades and springs where careful attention has to be paid to ensure the hard core of blade and spring line up precisely so the components stay in alignment, keeping the spring from wandering off to one side of the blade. If this happens and is not corrected, eventually the bolsters will be forced apart and the spring will continue to wear on one side of the blade making the knife useless.”

Bubba Crouch Single-Blade Trapper

Bubba Crouch points to the influence of Slip Joint Cartel icon Bill Ruple in his career. More than anything, Ruple taught him to “make the next knife better than the last one.” Crouch’s pearl-handled trapper demonstrates that the knifemaker has taken this lesson to heart. The natural scale presented concerns in chipping, shattering, and even burning. (SharpByCoop image)
Bubba Crouch points to the influence of Slip Joint Cartel icon Bill Ruple in his career. More than anything, Ruple taught him to “make the next knife better than the last one.” Crouch’s pearl-handled trapper demonstrates that the knifemaker has taken this lesson to heart. The natural scale presented concerns in chipping, shattering, and even burning. (SharpByCoop image)

Bubba Crouch has been making knives in Pleasanton, Texas, since 2001 and lives just down the road from his friend and mentor Bill Ruple. While Ruple is the leader of the South Texas Slip Joint Cartel, Crouch is a founding member and revels in the lively exchange of ideas and the friendly banter that it provides.

Ruple’s influence is pervasive among slip joint makers, and Crouch is no different. “Bill taught me everything I know about knives,” commented Bubba. “I guess the most important thing he has taught me is to make the next knife better than the last one. That is hard to do!”

Recently, Crouch completed and sold the featured single-blade trapper to a resident of Philadelphia. His available knives sold out in two days during the last 10-day Las Vegas show, and the demand for his work is on the rise. This particular trapper features a 3¾-inch hollow-ground blade of CPM 154 stainless steel, an integral 416 stainless steel frame, and handle scales of pearl with an abalone arrowhead inlay.

“I do all 416 integrals,” Bubba noted. “So, I mill my liners instead of spot welding or soldering, and I have had a lot more luck keeping them flat and even. That makes a better knife, I think, and the integral frame prevents issues with warping and that type of thing.”

The biggest challenge in creating this trapper came with working in pearl, a natural material that presents concerns in chipping, shattering, and even burning. When working with the pearl, Bubba uses a thin liner material glued to the surface to stabilize it, and with the final grind, he removes the liner material while shaping the pearl to fit the handle space.

Bubba Crouch at his grinds a blade.
Bubba Crouch at his grinds a blade.

“If you look at the pearl on some knives, you can see a yellow edge from the heat sometimes,” he said. “I fit the pearl in the handle and then remove it, shaping it to the bolster to avoid the heat before putting it back in. When I’m sanding the pearl, I wet sand, and when I drill, I squirt water on it after starting the hole.”

The abalone inlay gives Bubba’s trapper a distinctive flair, and the process of inserting it is relatively simple. “I have a pantograph machine and use templates to cut the abalone and cut the pocket for it in the pearl,” he said. “You’ve got to be careful and don’t want to pop it in and out too many times. I drill a hole through the pocket that is pretty small and comes out the liner to test fit.”

Crouch enjoys building what he likes, and for now, that is the single- and two-blade slip joint. Multi-blades don’t have great appeal. “My clientele is the everyday carry guy,” he concluded. “So, I build those knives. I don’t see the slip joint market getting soft. It’s traditional and will stay stable. It’s what your grandpa and your dad carried, and as long as there are memories like that, there will always be a market for the slip joint.”

Demand doesn’t seem to waver with the slip joint, and today’s makers are eager to oblige the marketplace.

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