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Coffee With An Edge: Well-Known Knifemakers Forging Coffee Brands

Mike Haskew
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Coffee With An Edge: Well-Known Knifemakers Forging Coffee Brands

Knife companies offer their own brands of hot Joe and perk up consumers in the process.

For Ernest Emerson, it’s as strong as… well, a cup of dark roast. He’s a firm believer in the expansion of his marquis knife manufacturing company into other lines of business. The idea behind that expansion is the diversity of different sources of revenue while complementing the Emerson core business.

“We’ve owned our own coffee company since 2019,” Ernest related. “I’m friends with Evan Hafer, the founder of Black Rifle Coffee, and our conversations probably go back to 2016 when we were first to co-brand with Black Rifle. Evan carried our CQC-7 on his military deployments, and he knew who we were. We worked it out with him to package coffee and do labeling. That worked for a while, and then my wife [Mary] and I talked it over and decided we wanted to have our own brand of coffee.”

For Emerson, taking the coffee plunge complemented the other activities that go hand in hand with offering top quality knives. Barriers to entry were few.

“I talked to Evan, and he said there was plenty of room,” Ernest explained. “We started Emerson Coffee Roasters Company, and I know we were first and started that trend, just like the trend in knife company whiskeys that is going on now.

“We get coffee from a source in South America and have it roasted and package everything under our own ownership,” he added. “Some other companies do collaborations and have their coffee packaged up, but we do everything from start to finish. The way I look at it, everything is a backup for a backup for a backup. What if somebody in Washington can make knives illegal with the stroke of a pen? All our other companies are there as a family-run group of businesses from coffee to apparel, whiskey, fighting systems and others. We’ve built those companies so the family will have support, and then we are at the helm and decide what roasts we want and everything.”

Emerson Coffee has three blends: Renegade Roast, which is the Emerson family’s favorite. Family Roast is the medium blend and Lethal Edge is the dark offering. The knife is the Emerson CQC-7BL-SF.
Emerson Coffee has three blends: Renegade Roast, which is the Emerson family’s favorite. Family Roast is the medium blend and Lethal Edge is the dark offering. The knife is the Emerson CQC-7BL-SF.

The future for Emerson and coffee may include some bundles of brew and whiskey or special flavorings for the coffee itself. Ernest sees flexibility and responsiveness always in the mix—a bourbon-flavored coffee when the time is right or a Christmas blend for the holiday season. Right now, the idea is simplicity with three blends: Renegade Roast is the Emerson family’s choice, Farmer’s Roast is the medium and Lethal Edge is the dark offering.

“It’s been a great thing to expand into coffee,” Ernest observed. “Our coffee is delicious, and people say they can’t drink any other coffee after trying it. Besides, we are a lifestyle brand and other than water more coffee is consumed around the world than any other beverage. I would bet that everybody who has ever bought a knife from us drinks coffee. So, if you buy or use knives, chances are you would drink our coffee and whiskey and wear our clothing.”

So, Ernest Emerson, the savvy businessman, finds another niche with coffee, one that complements the tried-and-true knife business and broadens the appeal of his entire spectrum of products. Seeing the big picture is expected to pay big dividends. Ernest points to recent history to back up his market perspective.

“No other knife entity on earth had a show in Las Vegas that revolved 100 percent around its brand like Emerson Knives,” Ernest concluded. “And the Usual Suspects Network was started for Emerson Knives. People tattoo our name on their body, and we say, ‘Show us your ink!’

Forbes Magazine said that there is only one other brand that loyal people tattoo on their bodies, and that is Harley-Davidson. The Forbes people actually told me that. We don’t know all the reasons for it, but again it is partly because people identify with who we are—American made by American workers with American grit and self-reliance. If people buy a $300 or $400 knife from us, then they buy other stuff that the company represents. Emerson truly is a lifestyle brand.”

And what says lifestyle better than a fine cup of brew?

Spartan Blades Tactical Beans

Spartan Beans is sold in 100 percent Arabica regular roast and dark roast, single or three pack. There is also a sturdy mug available to top off the experience.
Spartan Beans is sold in 100 percent Arabica regular roast and dark roast, single or three pack. There is also a sturdy mug available to top off the experience.

At Spartan Blades, company co-founder Curtis Iovito says offering a special coffee collaboration with Black Rifle is just fun. Fresh-roasted Spartan Beans fuels the consumption of a couple of gallons of brew per day around the office. The concept started when Curtis was chatting with a good friend who owns a roaster and has evolved into offerings consisting of 100 percent Arabica beans.

“Spartan Beans has been around for about three years now,” Curtis remarked, “and it has gone surprisingly well. Sometimes we will throw in some of our coffee when we ship a knife order to a dealer. The roaster is right up the street, so the coffee is about as fresh as you can get. We may look at doing an auto-ship program as demand increases, too!”

Spartan Beans is offered in 100 percent Arabica regular roast and dark roast, single or three pack, and there is also a sturdy mug available to top off the entire experience.

Spartan Blades co-founders Mark Carey (left) and Curtis Iovito (right) have traveled the globe for years, teaching counterterrorism and assisting with operations related to the use of knives in the field. When time permits, they search for the finest coffee from exotic locations for their Spartan Beans blends.
Spartan Blades co-founders Mark Carey (left) and Curtis Iovito (right) have traveled the globe for years, teaching counterterrorism and assisting with operations related to the use of knives in the field. When time permits, they search for the finest coffee from exotic locations for their Spartan Beans blends.

Through the years Curtis and fellow company co-founder Mark Carey have spent years traveling around the globe, teaching counter-terrorism and assisting with operations related to the use of knives in the field. And when time has permitted, they have searched for the finest cup of java available, whether in Malaysia or some other exotic location. The Spartan Beans blend includes the best from Colombia, Costa Rica, Africa and Sumatra.

“It’s like the United Nations of coffee, just more fun,” laughed Curtis.

Montana Knife Co. Backcountry Brew

Noted Josh Smith of Montana Knife Co., “Hot, steaming coffee while freezing on a hunt tastes so good!” Montana offers its MKC X Black Rifle Coffee Signature Dark Roast in whole bean and ground 12-ounce bags.
Noted Josh Smith of Montana Knife Co., “Hot, steaming coffee while freezing on a hunt tastes so good!” Montana offers its MKC X Black Rifle Coffee Signature Dark Roast in whole bean and ground 12-ounce bags.

A more recent entry into the coffee arena, Montana Knife Co. (MKC) entered into a partnership with Black Rifle in the fall of 2024. The packaging tells customers, “Fresh from the forge, this dark roast offers notes of dark chocolate with an aroma of spice topped off with a smoky finish. American brewed and crafted to perfection.”

Josh Smith, founder, president and ABS master smith at MKC, has found the kinship between knives and coffee to be compelling.

“Over the years, I became friendly with the owners of Black Rifle Coffee Co.,” he said. “We share many of the same beliefs around love of our country and support of our active-duty soldiers and veterans. For the past few years, we have worked with them on some marketing-related promotions, but this was our first launch of coffee with Black Rifle.

“Personally, I love coffee,” Josh emphasized. “For me, coffee and knives seem to be loved by so many blue-collar workers. Clearly, white-collar people drink coffee too. But I think back to my grandpa or my dad, and they always started the day with a cup of coffee before going off to work the ranch or in a backhoe. That same guy always had a knife in his pocket. The best place I’ve had Montana Knife Co. coffee is in northern British Columbia on a horseback moose hunt with my son [Hank]. For 10 days, it was rainy and cold. But each time we sat down to rest we made coffee with our jet boil. Hot, steaming coffee while freezing on a hunt tastes so good!”

Josh Smith (left) said the best place he’s had MKC coffee is in northern British Columbia on a horseback moose hunt with his son Hank (right). “For 10 days, it was rainy and cold,” he recalled. “But each time we sat down to rest we made coffee with our jet boil.”
Josh Smith (left) said the best place he’s had MKC coffee is in northern British Columbia on a horseback moose hunt with his son Hank (right). “For 10 days, it was rainy and cold,” he recalled. “But each time we sat down to rest we made coffee with our jet boil.”

Montana Knife Company offers its MKC X Black Rifle Coffee Signature Dark Roast in whole bean and ground 12-ounce bags.

For many consumers, the blend of the knife and the good cup of coffee just comes natural. Now, it’s easier than ever. Exploring the best in cutlery and coffee simply enriches the experience with both.

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Gloves And Knives: Do They Go Hand In Hand?

Mike Haskew
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Gloves And Knives: Do They Go Hand In Hand?

There are times gloves make all the sense in the world to use when using a knife and times they don’t.

The old saying goes that two things might “fit like a glove” or “go hand in glove.” But just maybe another question involves exactly when the “glove fits.”

Since mankind began working with tools, stone, bronze, steel and even in conditions that might be less than ideal, such as clearing trees and brush, dressing an animal, building a structure, or handling heat and cold temperatures, the idea of protection has been second nature. At first glance, the glove has its place and always will. But there are, in fact, other considerations in using hand protection, especially when it involves using a knife.

The time and place for gloved hands is the choice of the user, and thoughts on the topic vary.

“As you might expect, the answer ‘yes or no’ to gloves is ‘it depends,’” declared Craig Powell, general manager of TOPS Knives. “There are a lot of different reasons to wear gloves or not, depending on the use case. In cold weather, the gloves are more to keep your hands warm than they are necessarily for safety or grip. I wear gloves if I have them on me whenever I’m doing heavy-duty cutting like chopping firewood or other tasks that have a lot of impact involved.

Craig Powell said one of the specific reasons for Micarta® or G-10 handles on TOPS knives is to provide a good grip when you need it. “Micarta is one of the best for grip even when wet and whether you have gloves or not,” he observed. The TOPS Trailhead Kukri has black canvas Micarta scales. (TOPS image)
Craig Powell said one of the specific reasons for Micarta® or G-10 handles on TOPS knives is to provide a good grip when you need it. “Micarta is one of the best for grip even when wet and whether you have gloves or not,” he observed. The TOPS Trailhead Kukri has black canvas Micarta scales. (TOPS image)

“I also usually have a few pairs of latex or nitrile gloves handy when hunting just to keep things a little cleaner when gutting or skinning an animal,” Craig added. “If I’m doing tasks that require fine control of cutting, I don’t usually wear gloves. One of the reasons I use Micarta® or G-10 on TOPS knives is specifically to provide a good grip for when you need it. Micarta is one of the best for grip even when wet and whether you have gloves or not.”

Situational awareness, then, drives most decisions to use gloves or go barehanded when using a knife. There are times when working with steel in the shop or making camp in the field that gloves are indispensable, and then there are other tasks that require the most intricate feel and finesse that can only be achieved with the bare hand.

Reuben Bolieu, BLADE® correspondent, outdoor adventurer and designer for ESEE Knives, recognizes when and where the glove provides that necessary advantage.

Reuben Bolieu wears cowhide gloves—nothing fancy—while chopping with his ESEE Gibson Carving Axe. As he noted, “These gloves are excellent general-purpose gloves when handling wood, bamboo, hot cookware and dirty work.” (Bolieu image)
Reuben Bolieu wears cowhide gloves—nothing fancy—while chopping with his ESEE Gibson Carving Axe. As he noted, “These gloves are excellent general-purpose gloves when handling wood, bamboo, hot cookware and dirty work.” (Bolieu image)

“Gloves are the unsung hero of my camping trips,” he remarked. “They provide a momentary boost of superpower when handling hot pots or skillets taken directly from the campfire. Gloves also give you a second chance if you accidentally nick yourself while retrieving a big blade or axe from its sheath.”

Joe Flowers, designer for TOPS Knives and Condor Knife & Tool, answers emphatically regarding whether he uses gloves.

“Most of the time I do not, unless I am doing a highly repetitive motion or am working a particularly scaly or dangerous animal or material. This is general, as I can feel the blade and manipulate the tool more for the tasks at hand. The pro of wearing gloves, especially if you are not used to working tools, is the absence of concentrated friction that can lead to blisters. Even if you work a farm all day, you can get blisters doing a repetitive motion.

Feeling the handle of a knife against bare skin in the user or maker’s hand is considered the acid test for utility. Ed Fowler cradles one of his trademark sheep-horn handle knives at his shop bench.
Feeling the handle of a knife against bare skin in the user or maker’s hand is considered the acid test for utility. Ed Fowler cradles one of his trademark sheep-horn handle knives at his shop bench.

“After hanging out with Anders Haglund, formerly of Helle Knives, I appreciated the idea of a larger handle for mitten manipulation,” Joe added. “The legacy of Sami reindeer herders who use large gloves helped him convince me. I don’t always design large handles, but if it is a design that could work with a Nordic culture I pay attention and put a larger handle on the blade. Sami culture sometimes calls their survival kit ‘a big knife, a small knife, and a reindeer.’ That’s all they need to survive.”

Gloves, Knives And Safety

Safety is always a factor in wearing gloves to use knives. Removing a knife from a sheath or deploying a folder blade always has a bit of hazardous duty involved. The same is true in the shop or the field, though the gloves themselves can sometimes present a hazard.

“Gloves get wet. This is wasteful,” explained longtime BLADE field editor and High Endurance Performance Knife master smith Ed Fowler. “They may be too loose and can get you caught up in machinery. The skin on our hands is very sensitive, and this sensitivity can help improve the quality of our knives, as well as our health. When buffing or grinding a hardened blade, our hand can communicate the temperature, where your heat treat might not remain just as you planned it to be. Friction is the enemy of our heat treats.”

“After hanging out with Anders Haglund, formerly of Helle Knives, I appreciated the idea of a larger handle for mitten manipulation,” Joe Flowers stated. “The legacy of Sami reindeer herders who use large gloves helped him convince me.” The Nordic-style fixed blade is a Marttiini Arctic Carving Knife. (Bolieu image)
“After hanging out with Anders Haglund, formerly of Helle Knives, I appreciated the idea of a larger handle for mitten manipulation,” Joe Flowers stated. “The legacy of Sami reindeer herders who use large gloves helped him convince me.” The Nordic-style fixed blade is a Marttiini Arctic Carving Knife. (Bolieu image)

At the risk of stating something readily apparent, the positive aspects of wearing gloves when using knives include minimizing a cut or slice that could require stitches or worse, managing heat and cold, reducing the build-up of friction that can create painful blisters, and possibly even improving grip and purchase in the hand.

“The obvious pros of gloves are safety from materials and the tools you use,” Bolieu related. “However, gloves are fumbly! This brings us to the cons: clumsy dexterity. Fiddling in the dark or cold is the worst when working with sharp tools or lacking time. Gloves can slow you down big time! Sometimes you need to take a stand and say, ‘The gloves are coming off!’”

When Powell is at work, he takes stock of the task at hand, and gloves may or may not be part of the equation.

“Fiddling in the dark or cold is the worst when working with sharp tools or lacking time. Gloves can slow you down big time,” Reuben Bolieu opined. “Sometimes you need to take a stand and say, ‘The gloves are coming off!’” (Bolieu image)
“Fiddling in the dark or cold is the worst when working with sharp tools or lacking time. Gloves can slow you down big time,” Reuben Bolieu opined. “Sometimes you need to take a stand and say, ‘The gloves are coming off!’” (Bolieu image)

“Gloves can keep your hands from getting torn up when you’re doing a lot of heavy-duty cutting. They can also keep your hands clean when they need to be. Then, of course, there are gloves that will help prevent or at least lessen the cut you might receive if there is an accident. The cons are mainly the loss of dexterity and fine control. Depending on the type of glove, your ‘feel’ of the knife just won’t be as good as with a bare hand.”

Feeling the handle of a knife against bare skin in the user or maker’s hand is considered the acid test for utility. The glove is sometimes a barrier to truly getting the feel of the knife and developing an intuitive awareness of its capabilities.

“A good way to see if a handle is going to be comfortable for you to use is to give it a good, hard squeeze and hold it for a few seconds,” Powell commented. “Once you release it, if you feel some uncomfortable spots on your hand, that is a good sign that it will have some hot spots. Everyone’s hand is different, so while some knives might feel great for some, that same handle might feel terrible to others. A knife that looks great aesthetically doesn’t always do the job when it comes time to start cutting. So, a bare hand on the handle is a must whenever you can.”

Habit And Repetition

For those who wear gloves regularly when using knives, personal preference weighs in. The influence of habit and repetition contributes, too.

“Here’s a good analogy for this,” said Craig. “Most people wear shoes every day to keep their feet from getting cut or injured in some way. People that spend lots of time barefoot, especially outside, tend to have tougher feet. Basically, the same rocks that would cause some people a lot of pain don’t do anything to those who walk barefoot often. The same will be true for gloves. If you wear gloves every time you use knives or other hand tools, your hands don’t build up some of the toughness to be able to handle using knives often. A good handle will absolutely make a difference, but so will using tools often in general.”

As Ed Fowler noted, when buffing or grinding a hardened blade, the hand can communicate the temperature. Chris Amos buffs a blade in Ed’s shop in this file photo. (Fowler image)
As Ed Fowler noted, when buffing or grinding a hardened blade, the hand can communicate the temperature. Chris Amos buffs a blade in Ed’s shop in this file photo. (Fowler image)

Choosing whether to wear gloves or not shouldn’t be a difficult decision. The best advice available involves balancing risk versus return, hazards in relation to control and manageability.

“If gloves are the remedy, crack on!” Reuben offered. “Gear is terrain and weather-specific. I use leather gloves made of cowhide, the type you would see a ranch hand or cowboy use—nothing fancy. These gloves are excellent general-purpose gloves when handling wood, bamboo, hot cookware and dirty work.

“In winter, I add a thin fleece glove under them,” he noted. “This adds warmth but makes things extra fumbly. If I need more dexterity for making feather sticks or carving, I remove the leather glove and work the best I can with the fleece glove. It’s always a tradeoff. Safety first! More than anything, try with and without, see what works for you and have a blast!”

Flowers is strong in his opinion on the gloves themselves, but acknowledges there is a time and place for them when working with knives.

Pulling a knife from a sheath or deploying a folder blade always has a bit of hazardous duty involved. (TOPS image)
Pulling a knife from a sheath or deploying a folder blade always has a bit of hazardous duty involved. (TOPS image)

“Gloves do not determine how hardcore you are,” he advised. “I hate gloves but I wear them sometimes when the environment dictates it. I like to work beehives without gloves and I applaud anyone who does. Dexterity is very important when you manipulate and use a tool with a fine edge. Find gloves that you can move in … Gloves can help, but ultimately it is your time with a knife that is important, and, honestly, part of our human story.”

Experience is a great teacher, and familiarity with knives, their utility and hazards should drive the decision whether to use gloves.

“To each his own,” Powell concluded. “If you prefer to wear gloves when using knives, do it. If you don’t like wearing gloves don’t unless you’re doing something where there is a really good reason to have gloves on. For just regular daily use, I feel gloves are totally unnecessary, but I’ve also been in the knife world for over 25 years now.”

The use of gloves while working with knives does, then, involve the nature of the task, its brawn and repetition versus its intricacy and detail, control versus power. Having a pair of gloves handy is probably a best practice. Using them when and where appropriate enhances the knife experience.

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What Goes Into Making A Good Linerlock Knife?

Mike Haskew
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What Goes Into Making A Good Linerlock Knife?

Go inside linerlocks to judge its operation and workmanship.

For those who truly appreciate the custom knife, particularly the variety of folders, there is beauty in the function as well as the aesthetic qualities of the piece. Nowhere is that functional beauty more evident than in the intricacies, tolerances and precision of a well-made linerlock.

Inspecting the inner workings of the linerlock presents an opportunity to evaluate its operation and determine the degree of expertise that has gone into the finished product. In assessing what goes into the best of linerlock construction, top makers agree that the critical connection between spring and blade is the most obvious indicator of a particular lock’s capabilities. To be sure, there are other aspects to consider in the evaluation of the well-constructed linerlock, and these should never be discounted. But first things first.

Blade-Spring Relationship

“There is more to proper linerlock construction than just the blade-spring relationship,” agreed Ethan Kolar, a custom maker since 2020 with about 65 percent of his work devoted to the linerlock. “There’s a lot of small things that work together to make the knife function as it should, but the blade-spring-lock relationship is the most crucial part of the knife’s functionality as it is critical to a safe and user-friendly knife.”

Ethan Kolar uses an unusual material for the liners of his Persian Style Linerlock—15N20 nickel-alloy steel—and stipples it to boot. “It’s a good, springy material and has good wear resistance allowing the lock to have a longer life before maintenance needs to be done or the lock needs to be extended,” he wrote. Ethan opts for a smaller spring (middle panel, top) on his Persian model. (SharpByCoop image)
Ethan Kolar uses an unusual material for the liners of his Persian Style Linerlock—15N20 nickel-alloy steel—and stipples it to boot. “It’s a good, springy material and has good wear resistance allowing the lock to have a longer life before maintenance needs to be done or the lock needs to be extended,” he wrote. Ethan opts for a smaller spring (middle panel, top) on his Persian model. (SharpByCoop image)

When Maverik Murdock watches his linerlock work, blade and spring functionality is his primary concern as well.

“The lock fit is probably the first noticeable portion of a well-made linerlock folder, but it is a small part of what makes an overall good knife,” he explained. “The lock fit, or timing, is a good thing to look for as a sign of attention to detail from a folder maker, though there is some personal preference on how the lock fits.”

Murdock has been making custom knives for 15 years and folders for the last five with about 60 percent of his current output in linerlocks.

“Other good signs of a well-made linerlock are good fit and finish with the materials used,” he observed. “The blade should be centered between the liners when closed. This is a sign of proper pivot construction, good bearings or bushings and good alignment of the liner, back spacer and blade. Smooth travel when opening and closing the blade is also good.”

Repercussions Of A Bad Relationship

The Boomslang linerlock folder by K.C. Gray boasts a 4-inch blade of CuMai copper damascus by Baker Forge & Tool, mammoth molar scales, zirconium furniture and hidden hardware. Closed length: 5 inches. Gray’s price for a similar knife: $2,500. (SharpByCoop knife image)
The Boomslang linerlock folder by K.C. Gray boasts a 4-inch blade of CuMai copper damascus by Baker Forge & Tool, mammoth molar scales, zirconium furniture and hidden hardware. Closed length: 5 inches. Gray’s price for a similar knife: $2,500. (SharpByCoop knife image)

In the event the linerlock fails the first critical test and the function is flawed, there are consequences.

“If the lockup engagement isn’t correct, it will do one of two things in my experience,” Maverik began. “If there isn’t enough engagement, it could create an unsafe and unstable lock as there isn’t enough lock contacting the blade, which will run the risk of the blade coming back on the user’s hand. On the other end of the spectrum, too much lock engagement can crowd the user’s thumb or thumbnail, making it difficult to release the lock and decrease its service life as the lock has less area to wear into before it has sloppy lock engagement. The most common types of incorrect lock interfaces, I would say, are the two I’ve listed. However, in my opinion, over-engagement is more common than under-engagement as it is easy to both grind more material than is needed for proper lock engagement and the blade taper angle can be easily canted less than is necessary.”

If the spring extends beyond the optimal position, the condition is commonly described as “overtravel,” and the knife’s function is significantly impaired as time and use progress.

“If the lock bar has overtravel or over engagement, it generally isn’t dangerous to begin with because the angle change on the lock bar isn’t high enough to compromise the compression strength of the lock under normal working conditions,” Murdock explained. “But that does depend on the construction of the knife and materials used. Overtravel generally just means a shortened working life of the lock mechanism where it would need to be replaced sooner than a properly timed lock. The problems with overtravel begin to show up with the reach to the far side of the lock. If the lock bar fully reaches the other side of the lock, there comes a point where it no longer has contact with the blade when open, or has minimal pressure where it can bind.”

Other Linerlock Concerns

Marverik Murdock’s Steadfast has a 3.5-inch blade in a san-mai construction of CPM 154 stainless steel and CPM 3V carbon steel. The scales are Fatcarbon® space coral and the bolsters are feather damascus. Closed length: 4.25 inches. His price for a similar knife: $3,200.
Marverik Murdock’s Steadfast has a 3.5-inch blade in a san-mai construction of CPM 154 stainless steel and CPM 3V carbon steel. The scales are Fatcarbon® space coral and the bolsters are feather damascus. Closed length: 4.25 inches. His price for a similar knife: $3,200.

K.C. Gray has been making custom knives for a decade and collecting them for 30 years. He produces about 100 knives per year and roughly half are linerlocks. His perspective on quality workmanship includes the vital connection between spring and blade as well as other factors.

Interface

“That interface is the prime concern,” Gray observed, “and people usually talk about it in terms of ‘percent of lockup.’ Basically, that is how much the lockbar travels across the lock face toward the opposite liner. Everybody has their own idea of the ideal number. Some like as little as 10 percent lockup. I think most makers would say 40 to 50 percent would be the correct range. Too little lockup and the blade can slip off the lockbar and close. Too much and the lock will stick or even light wear will cause the blade to wiggle. So getting the lockup in the sweet spot in the middle is a sure sign the knife was well constructed.”

Detent

According to K.C., other critical elements should be considered in the overall quality of a particular linerlock.

“Other things to look for would be the strength of the detent holding the blade in the closed position,” he advised. “It should be firm enough that the blade doesn’t fall open when lightly shaken. But it can also be a problem if the detent is too strong. If it’s very strong it can make opening awkward and dangerous. Thumbs can slip onto the cutting edge or the knife can be dropped more easily. Another thing to look for is the centering of the blade between the liners. It should be bang down the middle except in chisel-ground blades.

Clearance

“Something else,” Gray continued, “is whether there is enough clearance between the liners for the thumb to get purchase on the lock to disengage it. If the blade is thick, often no relief is needed. But a thinner blade will usually need some relief cut into the opposite liner. It’s usually a sign that the maker thought the design through thoroughly.”

Other Aspects To Look For In Linerlocks

Viewed straight on two-dimensionally, some folders scream linerlock while others do not. The linerlock folding dagger by Brian Nadeau with dragon engraving by Vitalij Quaranta fits the latter category. (SharpByCoop image)
Viewed straight on two-dimensionally, some folders scream linerlock while others do not. The linerlock folding dagger by Brian Nadeau with dragon engraving by Vitalij Quaranta fits the latter category. (SharpByCoop image)

Of course, there are attributes to the well-made linerlock that are not necessarily visible. The feel in the hand and the ease of simple repetition in opening and closing contribute to the best linerlock experience.

“The blade motion when opening and closing should be smooth and consistent through the whole opening/closing cycle,” Murdock related. “Some makers like more or less drag on the blade, but it should be consistent. If the drag is excessive, it can be a sign of improper pivot sizing or too much lock bar pressure. The blade should have little or no side play when open. If it does the pivot may not be tight enough or the working surfaces may not be in alignment. The blade should be centered when closed and should be tight against the stop pin with a firm enough detent to prevent accidental deployment.”

Kolar also acknowledges the telltale signs of poor construction that are not necessarily readily apparent on sight and warns prospective buyers to consider these red flags.

“There are a few limited signs of improper construction that can’t be seen by the eye,” he commented. “Sloppy blade lockup oftentimes is very difficult to see as it doesn’t take very much for the blade to rock against the lock. How tight the blade pivots is another, as well as whether it has side play in the blade, and this is something that you can usually only feel. A good simple rule for cases such as these from both the maker and the buyer standpoint is to go with your gut on what you feel. A lock should lock up tight with no horizontal side play and no vertical lock play relative to spring size. Smaller springs can compress easier than larger.”

Questions To Ask When Buying A Linerlock

As K.C. Gray observed, the “percent of lockup” refers to how much the spring/lockbar travels across the lock face toward the opposite liner. “I think most makers would say 40 to 50 percent would be the correct range,” he opined. Brian Nadeau appears to achieve that range (far right, middle panel, top) with his dragon-themed linerlock. (SharpByCoop image)
As K.C. Gray observed, the “percent of lockup” refers to how much the spring/lockbar travels across the lock face toward the opposite liner. “I think most makers would say 40 to 50 percent would be the correct range,” he opined. Brian Nadeau appears to achieve that range (far right, middle panel, top) with his dragon-themed linerlock. (SharpByCoop image)

When buyer and seller meet, the evaluation of a prospective linerlock should include more than just a consideration of the knife itself. Buyers should engage the maker in conversation and ask a few questions. A healthy dialogue always enhances the experience and gives the customer confidence in the decision to plunk down hard-earned money.

“Ask about the liner material,” Gray offered. “It’s almost always titanium in custom knives. Ask what angle the lock face has been ground to. Most often seven to nine degrees is used. Ask if the blade runs on bearings or washers. And just ask if the maker can explain the materials used and why he or she likes those materials.”

Murdock agrees. “If you are talking to a maker about his work, he should know the process and materials used and should be confident in what he does. It’s good to ask about the materials and why they’re used. If you can see the work in person and look at these points and the fit and finish, that’s a great place to start.”

The making of a quality linerlock requires attention to detail and presents challenges that go well beyond a simple aesthetic. While eye appeal is always a factor, the proof of the linerlock’s worth is in its operation. Informed buyers can help themselves in taking the time to understand the attributes of linerlock mechanics and the skill that is present in the finished product. Then, the unbeatable combination of beauty and optimal use can be attained.

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Penny For A Knife: Unraveling The History Of This Tradition

Mike Haskew
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Penny For A Knife: Unraveling The History Of This Tradition

The fascinating origins of the “penny for a knife” custom, from ancient Rome to Sheffield. Learn why a coin was exchanged saved friendships.

Not all that long ago, the tradition of a penny for a knife was a common practice. Today the custom appears to be barely clinging to relevance, though as traditions go there is the possibility that it may linger and even gain new traction. That, however, remains to be seen.

The old story goes that when someone gives a knife to someone else, the recipient is obliged to present the giver with a penny as a token of appreciation or even as an insurance policy. The origins of the old custom are shrouded in mystery and have become more obscure with the passage of time. Nonetheless, there is a larger aspect to the tradition, and that is its questionable staying power in the modern milieu that is the world of knives.

Is the old practice virtually clinging to life? Apparently so. A few folks contacted for the story were frank in their assessment. Phil Gibbs of A.G. Russell Knives in Rogers, Arkansas, went to the buying public and then conferred with his boss, BLADE Magazine Cutlery Hall-of-Fame® member Goldie Russell, both longtime participants in all things knife.

If somebody gave you a knife and you didn’t give him a penny in return, Cutlery Hall-of-Famer Dan Dennehy noted, “it would cut your friendship.” Dan is also a member of the International Knife Throwers Hall of Fame.If somebody gave you a knife and you didn’t give him a penny in return, Cutlery Hall-of-Famer Dan Dennehy noted, “it would cut your friendship.” Dan is also a member of the International Knife Throwers Hall of Fame.
If somebody gave you a knife and you didn’t give him a penny in return, Cutlery Hall-of-Famer Dan Dennehy noted, “it would cut your friendship.” Dan is also a member of the International Knife Throwers Hall of Fame.

“I’ve polled customers in our store since we first discussed this, and zero people were aware of the old custom,” Phil remarked. “Goldie and I agree that it was once quite prevalent but now is long gone and forgotten.”

The late Cutlery Hall-of-Famer A.G. Russell knew the custom well but sometimes found himself having to explain it a bit.

“Sometimes people look at me funny,” he said years ago of the times he gave a knife to someone and asked for a penny in return, “especially when they are younger. The younger they are, the funnier they look at me. I just think it’s a matter of their not knowing about it.

“As I was growing up, I saw it being done, not just once but many times. I still do it myself. I insist on compensation. It may end up being a quarter if they don’t have a penny, nickel or dime. I knew a man years ago who liked to give knives away, and he would give the knife away with a penny and then make you give the penny back.”

Veteran knife dealer Bill Claussen of Northwest Knives in Salem, Oregon, is another source who definitely would be in the know regarding the tradition, and his assessment was a straight-up, “I really don’t have anything to offer on this one. This is really not ‘old knife’ country out here, and I never even heard of this until a few years ago,” he noted, “and then I never heard it discussed.”

Cutlery Hall-of-Famer A.G. Russell (at far left) waits on a customer in the retail knife store inside A.G. Russell Knives.
Cutlery Hall-of-Famer A.G. Russell waits on a customer in the retail knife store inside A.G. Russell Knives.

The tradition may well be on life support. While it is likely fading or the sun has quite possibly set on it altogether, there are related memories. Matter of fact, this writer put together a BLADE® story on the topic some 26 years ago. Coincidentally, I had just experienced the tradition in action. When I handed a nice folder to a close friend, his wife piped up, “Now you have to give Mike a penny. My mother and father never gave one another anything with an edge without receiving a penny in return.” Even then, my friend’s wife had no idea where the practice had originated.

Penny For A Knife Origins

In that BLADE story 26 years ago, Cutlery Hall-of-Famer Bruce Voyles related that he believed the custom originated in ancient Rome.

“The general theory was that you would ask for the lowest coin of the realm when you were given a knife,” he said. “Back then, when you were dealing with an absolute monarch and the king or queen handed you a knife of their own, you were expected to kill yourself with it. But, if the king demanded a coin from you, then he was giving you the knife.”

Well-known knife dealer Jim Taylor, who grew up in Sheffield, England, remembered the penny for a knife custom as it was practiced in his family. “When I was a little boy,” he recalled years ago, “I had to give my mom a penny before she would give me a pocketknife she had bought for me. It might have been a particular Sheffield custom that became popular.

“I’ve always expected to be given a coin, whatever it might be, any coin at all. In England you don’t have to explain it, but in the United States sometimes the custom is not held so tightly. If I were to take someone a gift of a pocketknife in England, they would without question give me a coin. They think, ‘You must buy this because otherwise it might cut our friendship.’ I’ve seen knives from time to time with an old English farthing or half penny built into them.”

That was then.

Bill Claussen with Sheffield Exhibition Knives, the book he authored in 1999 along with Brad Watts and Pete McMickle.
Bill Claussen with Sheffield Exhibition Knives, the book he authored in 1999 along with Brad Watts and Pete McMickle.

Even Queen Elizabeth II participated in the tradition. The Sheffield Star newspaper dutifully reported in its Dec. 12, 1986, edition that the Queen visited the city and was presented with a platinum penknife and responded by handing the presenter a six-pence coin in a case. Thirty-five years earlier, the monarch had visited Sheffield and handed a cased half penny to the giver in exchange for a gold penknife.

In fact, the practice was so widespread at one time that according to Cutlery Hall-of-Famer Bernard Levine, one of the foremost knife writers and folklorists, Gerber knives were often sold in the 1940s with an accompanying card that explained the penny for a knife tradition. The card even had a penny glued to the top along with the declaration of “invoice” and then space for a name along with the instruction, “debtor to” and then “1 box of Gerber Blades … 1 cent.”

Levine said the Gerber card explained the legend a bit further. “There is a superstition, or something, about giving away cutlery … etc., so I trust you will honor this bill,” the card stated. “Besides, I need the money.”

FRIENDSHIP CUTTER
Years ago, Cutlery Hall-of-Famer Dan Dennehy indicated that he had grown up with the tradition.

“If someone in our family gave you a pocketknife, they got a coin,” he recalled. “The value didn’t matter just as long as it was legal tender. If somebody gave you a knife, a letter opener, anything with a sharp edge, or even a butter knife, you always gave a coin in return because if you didn’t collect a payment it would cut your friendship.”

Cutlery Hall-of-Famer Bruce Voyles hammers hot steel during a basic bladesmithing course in 1994 at the Bill Moran School of Bladesmithing. (B. R. Hughes image)
Cutlery Hall-of-Famer Bruce Voyles hammers hot steel during a basic bladesmithing course in 1994 at the Bill Moran School of Bladesmithing. (B. R. Hughes image)

Those who remembered the old practice seemed convinced a quarter century ago that fear of “cutting the friendship” was their prime motivation. Knifemaker John Dennehy, Dan’s son, remembers his close association with it.

“I’ve thought about this and don’t have any firm history about it,” John reflected. “I do remember my dad spoke about it a lot. Giving a knife as a gift can sever the friendship, so he always asked me for a quarter or something when I was a kid and a dollar as an adult. He often told the story about being on the radio with G. Gordon Liddy [talk show host, attorney and FBI agent involved in the Watergate scandal of the 1970s] and presenting him a knife. Gordon was prepared and had a silver dollar ready to give Dan. Being first-generation Irish in the U.S., he claimed it was an old Irish tradition. In the books and TV show Outlander, Jamie Fraser, the Scottish highlander, gifts his wife a custom knife. He asks her for a little something in return—says it’s an old Scottish tradition. That’s not much, but I did grow up with the tradition and carried it forward.”

In doing some research sometime back, it became apparent that the tradition has been a cross-cultural phenomenon. In Scandinavia, for example, it’s seriously bad luck to outright give someone a knife. A knife that was gifted but not meant to be a “killing knife” had a coin accompanying it with the initials of the maker. That would ensure the knife’s good use. Along with the knife an old saying, “A man without a knife is a man without a life,” added to the Scandinavian sincerity of the event.

Despite the fact that the tradition may be fading or has already slipped into history, some way or somehow it may experience a revival. Levine and many others seemed to love it. Some still do. After all, it adds to the quaintness and charm that surrounds the exchange of a knife with a friend or family member.

Tradition is a common thread that just makes the giving more memorable and enriches the experience for everyone. In these days of inflation, it’s cheap, too. It only costs a penny.

Pocketknife Info:

BLADE Show Beer: Brew That Taps Into Blades

Mike Haskew
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BLADE Show Beer: Brew That Taps Into Blades

Gabe Fletcher/knifemaker ale collaborations lead to the official BLADE Show Beer.

It’s a winning combination, no doubt—a blend of brews and blades.

Three years ago, Gabe Fletcher began making knives. Then, somewhere along the way he had a brilliant idea. The dynamic combination of his finest craft beers with the custom knives that could be developed in collaboration with friends who appreciate both, just as he does, was too tempting not to try.

Fletcher had been in the brewing business since 1988, and the joint venture of beverage and blade just seemed to fit. “I ran another brewery here in Anchorage for 13 years,” he recalled, “and decided to start my own brewery after so many years. I’m coming up on 27 years of professional brewing, and I started when I was 21.”

Gabe Fletcher (above at his Anchorage Brewing Company) and Salem Straub collaborated on a chef’s knife (facing page) in mosaic damascus and carbon fiber paired with a “niche” beer—a bold, crisp IPA with a low alcohol content.
Gabe Fletcher (above at his Anchorage Brewing Company) and Salem Straub collaborated on a chef’s knife (facing page) in mosaic damascus and carbon fiber paired with a “niche” beer—a bold, crisp IPA with a low alcohol content.

Gabe knew that the collaboration opportunity was alive and well in the brewing industry, and it just seemed a natural progression. “I do many collaborations with other breweries and I’m pretty well known in the beer world,” he observed of his Anchorage Brewing Company*. “I thought in the beginning that it would be a fun way to get my name out there as a knifemaker. The first collaboration was with award-winning bladesmith Neil Kamimura. He was the person that got me into knifemaking.”

Seeing the knives in Neil’s shop a few years ago provided inspiration for Gabe to give it a try at the forge. At first, he did only beer collaborations as he refined his own knifemaking skills.

“Eventually, I started to get good enough to start actually making knives with these makers. I owe a lot to Mareko Maumasi [page 16]. I would consider him my mentor, and I’ve learned so much from him,” Fletcher reflected. “Working with him so much has really propelled my skills much faster than if I was learning on my own. Now Anchorage Forge and Anchorage Brewing are very connected, and I use it as a way to have fun, collaborate and excel in my knifemaking journey.”

Gabe Fletcher/knifemaker ale collaborations lead to the official BLADE Show Beer
Gabe Fletcher/knifemaker ale collaborations lead to the official BLADE Show Beer

To date, Gabe has completed at least nine knife/beer combos, and there are more to come. Naturally, he gravitated toward one with Mareko. The resulting knife was a dazzling chef’s tool with damascus blade, handle of white oak from the barrel in which the accompanying beer was aged, carbon fiber and G-10 spacers. Respective blade and overall lengths: 10 3/8 and 14.8 inches. Mareko’s price for a similar knife: $3,000.

“Gabe posed the challenge to me to see if I could design a steel that looked like a devil’s skull,” Maumasi explained. “I already had a design for a pattern that looked like a skull, which I hadn’t made yet but had sketched out in a notebook. At that point, all I had to do was figure out how to add horns to the skull. The devil skull came together nicely with the detailed elements for the teeth, cheekbones, eyes and horns. A lot of people who see it assume that it’s a canister damascus steel, but it’s actually a combination of several pattern-welded elements that started out as plate steel. For the forged design, we added a crushed ‘W’s’ flame along the edge of the blade.”

The damascus chef’s knife paired nicely with the latest in Fletcher and Maumasi beer offerings. The pair have actually done more than one brew, and the most recent is a synthesis of tropical flavors to honor Mareko’s Samoan heritage. The first was a Maumasi oak-aged imperial stout, which had a base aged eight months in Buffalo Trace bourbon barrels. It was then transferred to freshly emptied Woodford Reserve Double Oaked bourbon barrels for six months before moving to emptied Buffalo Trace bourbon barrels for four months, and was finished with toasted coconut and coffee from the Olympia Coffee Company in Mareko’s hometown. The second is the Maelstrom IPA, a smooth and light beverage with grapefruit, passion fruit, papaya and lechee hints.

GABE’S GREAT IDEA

Another example of Gabe’s great idea translated into a chef’s knife collaboration with Salem Straub. It includes a 10.5-inch mosaic damascus blade with a handle of copper/coral carbon fiber that features carbon fiber and G-10 spacers. Overall length: 14.9 inches. The knife sold for $5,850 through Eating Tools.

Plant Eater, a hefty chef’s knife with an 11.1-inch carbon steel blade, carbon-fiber handle with G-10 spacers, and 15.8-inch overall length, is a Gabe Fletcher/Josh Prince collaboration. The beer that accompanies it is a “dank, strongly fragranced IPA.”
Plant Eater, a hefty chef’s knife with an 11.1-inch carbon steel blade, carbon-fiber handle with G-10 spacers, and 15.8-inch overall length, is a Gabe Fletcher/Josh Prince collaboration. The beer that accompanies it is a “dank, strongly fragranced IPA.”

“I forged a bold mosaic pattern of ‘distorted finger-type layup’—that’s Steve Filicietti pattern language—and sent Gabe a big chunk sawed from a loaf of that,” Straub related. “He worked his magic and forged a big sleek integral chef’s knife in an angular Western profile from it, and finished it up with some of his signature-style faceting applied to a hidden-tang handle of crazy carbon fiber. The steels in the blade are 15N20 and 1080.”

Salem has been making knives for 22 years and expressed real gratitude for Gabe’s initiative. “He always kills it at what he does, and this was no exception,” Salem observed. “I’ve had a lot of fun sharing his brew with family and friends.”

The Anchorage Brewing product Fletcher and Straub created found a niche among beer lovers. “Our idea was to come up with a bold, crisp IPA with a low alcohol content,” Salem said. “It’s what I would term a ‘performance IPA’ since you can have one or two and still get stuff done. It’s a real challenge apparently to make a beer to these specs, but Gabe is quite a talented and skilled brewer, as well as knifemaker.”

A hefty chef’s knife with an 11.1-inch carbon steel blade, handle of carbon fiber with G-10 spacers, and overall length of 15.8 inches was the result of Fletcher’s collaboration with Josh Prince. The knife sold for $5,850 on Eating Tools.

“I knew Gabe from interacting over Instagram and a few phone calls to talk about pattern and material processes around knives both carbon steel and stainless,” Josh noted. “Slowly, we developed the idea of working together on a knife/beer release. We worked on a chef’s knife in carbon steel in Gabe’s design with a plug-welded element. I provided the damascus plug element and Gabe did the rest. We dubbed it ‘Planet Eater’ after the classic Star Trek episode “Doomsday Machine,” where a mechanical entity consumes entire solar systems.”

In addition to running the internationally known Anchorage Brewing Company in Anchorage, Alaska, Gabe Fletcher is also an ABS apprentice smith.
In addition to running the internationally known Anchorage Brewing Company in Anchorage, Alaska, Gabe Fletcher is also an ABS apprentice smith.

Based in Rhode Island and making knives since 2016, Prince commented, “It’s just inspiring to work with another maker of such a high caliber and level of motivation and creativity.”

That motivation led to a discussion that brought back a pleasant memory for Josh. “I talked to Gabe about another beer that he made with Ben Kamon of Austria and how much the aroma reminded me of cannabis,” Prince remarked. “Oddly enough, Gabe told me that the hop and cannabis plants are very closely related and could even be grafted together! I asked for a dank, strongly fragranced IPA, and Gabe delivered.”

BLADE SHOW BEER

Adventures in knives and beers with Fletcher and friends doesn’t stop there. Recently, Gabe engaged with representatives of the BLADE Show to craft a unique brew just for the greatest show in knives.

Gabe Fletcher’s chef’s knife/beer collaboration with Austrian knifemaker Ben Kamon resulted in a striking combo.
Gabe Fletcher’s chef’s knife/beer collaboration with Austrian knifemaker Ben Kamon resulted in a striking combo.

“It’s an IPA that will be lighter at around 4.5 percent alcohol by volume—very floral and smooth drinking—and the BLADE Show beer will be available at the show in the Cobb Galleria of Atlanta at every bar on the floor and also on the main hotel floor, i.e., in The Pit!” Fletcher advised of the iconic sunken bar in the lobby of the show’s host hotel, the Renaissance Atlanta Waverly.

“We will also have some of the beer available online through one of my distribution partners, Tavour, where a person can have the beer mailed directly to their home in 23 states in the USA. I went to my first BLADE Show last year and ended up having dinner with some friends and a few people I hadn’t met yet. Henry Wu from the BLADE Show was sitting next to me. We got to talking, and later that year I had the idea of having a beer made just for the show. I pitched it to Henry and he was all about it.”

With his fine pairings of blades and brews already offered and more coming in the future, Gabe melds his two great passions, connects and collaborates with friends, and presents the resulting creations to the world. His love of both brewing and knives shines through in every aspect of the ongoing project.

Mareko Maumasi’s gyuto chef’s knife in a san-mai construction serves as the model for the knife second from right at top in the artwork for the BLADE Show Beer.
Mareko Maumasi’s gyuto chef’s knife in a san-mai construction serves as the model for the knife second from right at top in the artwork for the BLADE Show Beer.

“The beer is sold through my distribution network and is mainly free advertising for the maker,” he said. “Also, it’s just a fun thing to do. I mean, who wouldn’t want a beer brewed in honor of them? As far as the knives are concerned, most of them are sold through Eating Tools. Abe Shaw and his crew over there do an amazing job of taking beautiful pictures and telling the story of the knife and beer as a whole.”

It’s a powerful, flavorful and altogether refreshing combination of brewer and bladesmith. Raise a glass. Slice and dice. And feel the fine craftsmanship in both.

*In 2024, Gabe Fletcher’s Anchorage Brewing Company was ranked among the country’s elite beer makers. According to Untapped, an app that allows drinkers to rate their beers, his company was ranked No. 6 nationwide in terms of producing the highest number of brews at a state or national level. The ratings are by nearly 11 million beer lovers covering over 26,000 of the world’s top-rated beers, as reported in Forbes.

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Collaboration Knives: How Do They Come Together?

Mike Haskew
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Collaboration Knives: How Do They Come Together?

Top makers explain how they collaborate with knife companies.

The old cliché of the win-win holds a real grain of truth. Any successful partnership must be mutually beneficial, and in the knife industry the phenomenon of the collaboration has come to exemplify the upside of working together.

Years ago, a veteran custom knifemaker described his relationship with a major manufacturer as serving as the company’s research and development department. Such a description is accurate in that the manufacturer often relies on the custom maker for new design inspiration, from good looks to materials and mechanics. The collaboration has emerged in the last 35 years or so as an outstanding means of bringing innovation to the public and putting first-rate knives in the hands of the mass market.

The ins and outs, nuts and bolts, and give and take of the collaboration process raise questions for makers interested in striking deals of their own. A few comments from makers who have achieved great success on the collaboration frontier offer helpful insights.

“It goes both ways,” observed BLADE Magazine Cutlery Hall-of-Fame® member Bob Terzuola, who indicated he completed his firstfactory collaboration with fellow Cutlery Hall-of-Famer Sal Glesser and the design team at Spyderco in 1989. “You can go to the company or the company can come to you depending on your notoriety. If you are just starting out, you probably have to go to the company.”

On the business side of the ledger, Suzi Terzuola takes the lead and has demonstrated proficiency in making the deal work for everyone involved. Her flair for negotiation and finding the right blend of maker-manufacturer cooperation has been demonstrated through the years as Bob has worked not only with Spyderco but also the old Camillus, Boker, Fox, Pro-Tech, Tactile Knife Co. and others.

BLADE Magazine Cutlery Hall-of-Fame® member Bob Terzuola has done collaborations with many companies, including the Bob Terzuola ATCF Auto Ultimate from Pro-Tech, the BLADE Magazine 2022 Investor/Collector Knife Of The Year®. (Eric Eggly/PointSeven knife image)
BLADE Magazine Cutlery Hall-of-Fame® member Bob Terzuola has done collaborations with many companies, including the Bob Terzuola ATCF Auto Ultimate from Pro-Tech, the BLADE Magazine 2022 Investor/Collector Knife Of The Year®. (Eric Eggly/PointSeven knife image)

“I was raised by parents with their own successful businesses,” Suzi observed, “and I saw Bob receiving passive income from Spyderco and Camillus, and of course passive income is how you survive after having only so many years to make knives. I began looking at the knife designs Bob had and tried to match the design to the company. Bob has patents lining the walls, and when he lends his name to a knife he should receive a signing bonus and a bonus against the royalties.”

In return for his design skill and the use of his name in promotions, Bob has certainly established himself as a leader among successful custom collaborators. His contribution to a company’s success has enhanced his reputation of excellence across the industry, while Suzi has forged a business posture that results in security for the future.

Knife Collaboration Contracts

The contract is the key component of a collaborative deal, and depending on the circumstances everything is negotiable. Although early agreements made among friends were sometimes done on a handshake, it has become a “best practice” to hammer out the terms of the collaboration on paper, invest in an attorney’s review, and formally memorialize the discussions. Standard royalties run roughly 5 percent of the price at which the company sells the knife.

The Terzuolas include a period of time in which the company is allowed to produce the knife; the period may be extended at maturity with the agreement of both parties. Further, there may be a requirement that the company produces a certain number of knives in a given time period, also renewable. Restrictions on wholesale pricing or discounts that affect royalties may also be negotiated.

For those considering a foray into collaborations, Bob and Suzi offer some advice: “If you’re a new maker, you shouldn’t just walk up to [the company’s] booth at a show. Make an appointment to see them because they are at the show to deal with customers. Approach a company with one or more finished designs. They want a package presented to them, a prototype or existing model, something they can hold in their hands, and in the case of a prototype it’s good to have as many innovations and design creations as you can—anything that will set the knife apart from other potential deals out there.”

Lucas Burnley has designed several iterations of his Kwaiken for Boker, including the Kwaiken Auto Frazetta.
Lucas Burnley has designed several iterations of his Kwaiken for Boker, including the Kwaiken Auto Frazetta.

Suzi added that a higher profile in the industry can drive success.

“We are the R&D for a knife company,” she noted, “and when you approach them for a collaboration your social media resumé is very important.”

Making custom knives since 1994, Darriel Caston has concluded collaborations with numerous companies, including CRKT, Spyderco, Boker, V Nives, Kansept Knives and more.

“I’m prolific when it comes to designs,” he affirmed. “There are probably about 300 that I will never get to making. I’m an engineer by trade and my 3D drawings are almost ready for production, and that helps with the deals. They ask for STEP files [standardized 3D model data files for CAD and 3D printing] that can go right into machining. Sometimes we work with a prototype, and sometimes we work with a knife that I have been doing for quite a while.”

According to Darriel, one significant element of the collaboration is the retention of the rights to the design.

“Anybody who wants to do a collaboration must put footprints in the sand, get their work out there and show a story,” custom knifemaker Darriel Caston observed. One of his latest designs for CRKT is the blacked-out MinimalX framelock folder, an evolution of a knife originally made for SpaceX to commemorate a rocket launch.
“Anybody who wants to do a collaboration must put footprints in the sand, get their work out there and show a story,” custom knifemaker Darriel Caston observed. One of his latest designs for CRKT is the blacked-out MinimalX framelock folder, an evolution of a knife originally made for SpaceX to commemorate a rocket launch.

“You never want to give up your design,” he warned. “I would license the design to the company usually up to four or five years, and the average is three years. After that, you can discuss if you want to continue if the relationship has been good for both parties. License the design and never sell it. If a company buys the design, then they own it forever. If it became their best seller, I could never make the knife again, and I would have to stay away from anything that looks like it.”

For Caston, every deal starts with a friendly conversation. As progress is made, attorneys draw up the contract. He sees the process as straightforward, whether dealing with an American manufacturer or a company headquartered in a foreign country.

“I find the knife community for the most part to be very honorable,” he commented. “I haven’t run into any bad juju. When you want to do a collaboration, I tell people they need to have a name and a track record of good designs with people following them on social media and stuff.”

Since his first collaboration—with Spyderco in 2015—Darriel can speak with confidence regarding the potential for success.

“It would be rare for someone to take a design to a company without a history or a footprint there. They look for your story,” he noted. “Anybody who wants to do a collaboration must put footprints in the sand, get their work out there and show a story. Then it becomes easier.”

Getting A Collab Off The Ground

Darriel Caston has concluded collaborations with several companies. “I’m prolific when it comes to designs,” he affirmed. “There are probably about 300 that I will never get to making.” Now discontinued, the Squarehead was one of his early collaborations with Spyderco.
Darriel Caston has concluded collaborations with several companies. “I’m prolific when it comes to designs,” he affirmed. “There are probably about 300 that I will never get to making.” Now discontinued, the Squarehead was one of his early collaborations with Spyderco.

Custom maker/U.S. Marine Corps veteran Les George found early collaboration success at the SHOT Show some years back. He approached Pro-Tech a decade ago, and the association has continued since then.

“I had just finished my first batch of VECP [Value Engineering Change Proposal] mid-tech knives,” he remembered, “and I thought it would be cool to see Pro-Tech make the knife in an automatic. So, I did the CAD work to change the knife to an automatic and walked up to their booth at the SHOT Show. I asked to speak to the owner, and Dave Wattenberg came over and shook my hand. I drew a big breath and told him, ‘My name is Les George and I am a knifemaker and I have a design I think would be a great knife for you to make as an auto and I already have the CAD done would you like to see it?’ I said that all as one sentence in one breath!”

Still, a pragmatic view of the collaboration landscape demands preparation and planning. A so-called “cold call” may not meet with success.

“It depends on the company whether a direct approach will work or not,” George conceded. “Don’t walk up to a company at the BLADE Show and tell them you’re a hot maker and they should pay you to make one of your designs. Instead, walk up, introduce yourself, and show them with CAD pictures, a 3D printed model, or a real knife, and tell them why you think it would be awesome to work with them on a production project.”

When it comes to her husband Bob’s collaborations, Suzi Terzuola takes the lead and has demonstrated proficiency in making the deal work for everyone involved. An example of several overseas Terzuola collaborations is the Clap from Italy’s Maniago Knife Makers.
When it comes to her husband Bob’s collaborations, Suzi Terzuola takes the lead and has demonstrated proficiency in making the deal work for everyone involved. An example of several overseas Terzuola collaborations is the Clap from Italy’s Maniago Knife Makers.

Les sees the components of a particular collaboration deal varying. Of course, some of the structure depends on the negotiating skills of the parties. Commonly, the compensation may revolve around a percentage of dealer or distributor pricing on each unit, and particular deals may extend as long as each party is pleased with the progress.

“Collaborations should run as long as they are profitable,” Les remarked. “Companies don’t generally kill a successful project unless there is a capacity constraint issue or something else outside hindering it. Both parties can end the deal at any time with some allowances for production to finish with the things they have in progress already. Every contract I have ever seen gives one company the rights to exclusively make a particular model. My contracts have a provision that I can make as many customs of my models as I want. In the end, it would be counterproductive to license the same model to multiple companies. The maker would be competing with himself at that point, and it’s not helping the companies.”

Priming The Pump

Award-winning maker Lucas Burnley appreciates the help of friends in establishing a firm footing for collaboration.

“In general, I’m a big fan of pulling on my network,” he said. “If you have someone you can reach out to for an introduction, that’s always a strong move. If you don’t have someone to make an introduction, you might be able to ask around and at least figure out who you need to talk to. Regardless of how you get your foot in the door, I highly recommend going to a knife show and trying to set up a meeting in person.

“A design is only one part of a collaboration,” he continued, “so bring your ‘A’ game and think about what other value you can provide for the company. I was introduced to Boker by Jens Anso and Jesper Voxnaes, and Ken Onion put in a good word for me with Columbia River Knife & Tool. I’ll be forever grateful for those introductions and the relationships behind them. I’ve been able to pay it forward a few times, and hopefully I’ll be able to do it many more times in the years to come.”

Les George’s V14 dagger design for Spartan Blades was the BLADE Magazine 2014 Investor/Collector Knife Of The Year®.
Les George’s V14 dagger design for Spartan Blades was the BLADE Magazine 2014 Investor/Collector Knife Of The Year®.

In Burnley’s experience, contracts provide compensation most often in the form of monthly or quarterly royalties based on a percentage of sales. One-time lump sum payments are also seen; however, the income generated depends on the goals of the two parties involved.

“I want my designs to run until my grandkids are old enough to thank me for my good decisions,” he laughed. “If a model is selling, I want it to keep selling. On the flip side, I will routinely ask what models we can kill if they aren’t pulling their weight.

“One caveat here is that if a design is still in production, I want to get paid for it,” he concluded. “Some companies will offer a contract for a set period of time but have the option of continuing to produce the model. I view this as somewhat akin to a one-time payout. If it works for you great; just make sure you are paying attention.”

George specifically limits the number of companies he works with in order to give the relationships the priority he believes they deserve. Consistency, he says, is huge. Real, solid collaborations are not “get-rich-quick schemes.” He remembers getting his first collaboration check in 2014 totaling a whopping $6.

“A design is only one part of a collaboration,” Lucas Burnley observed, “so bring your ‘A’ game and think about what other value you can provide for the company.” His Tuna Compact framelock design for CRKT is one of his latest collaborations.
“A design is only one part of a collaboration,” Lucas Burnley observed, “so bring your ‘A’ game and think about what other value you can provide for the company.” His Tuna Compact framelock design for CRKT is one of his latest collaborations. “A design is only one part of a collaboration,” Lucas Burnley observed, “so bring your ‘A’ game and think about what other value you can provide for the company.” His Tuna Compact framelock design for CRKT is one of his latest collaborations.

Times change—and checks change with good business practices, commitment, follow through, and most of all a process from contract to design and product that proves profitable for everyone.

More On Knife Collecting:

How To: Marketing Knives On Social Media

Mike Haskew
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How To: Marketing Knives On Social Media

How to get the most from your knives on social media platforms.

It’s immediate. It’s visual. It’s effective.

These are just a few of the attributes that describe the impact of social media on modern life. Whatever the topic, some form of social media allows participants, observers, critics and commentators to weigh in, expressing their views and—of course—buying and selling.

For instance, the platform of Instagram has become a prominent factor in the marketing of many custom knifemakers, purveyors and collectors, and the reasons for the phenomenon are varied. They center around the immediacy, visual quality and effectiveness in showcasing and selling, developing a following, and generally in raising a knifemaker’s profile in the all-important marketplace. Setting up an Instagram account is simple, cost-effective and for many generates the desired results.

“Instagram and other social media platforms are an excellent way to put yourself in the public’s eye,” noted purveyor/ABS master smith Dave Ellis of exquisiteknives.com. “Through good knife photography, clear and precise descriptions of the same, and reasonable follow-up you can publicize your products as well as introduce your website. TikTok is rapidly gaining popularity, and YouTube is an excellent way to achieve your goal of spreading the gospel of custom knives.”

“I do videos and tutorials and just basically little blurbs of me building a knife,” Kim Breed commented. “Tutorials let people know this is why I charge what I charge, the little steps that you do when you’re making a knife.” ABS master smith Steve Randall grinds a blade in his shop. (Steve Randall image)
“I do videos and tutorials and just basically little blurbs of me building a knife,” Kim Breed commented. “Tutorials let people know this is why I charge what I charge, the little steps that you do when you’re making a knife.” ABS master smith Steve Randall grinds a blade in his shop. (Steve Randall image)

Kim Breed, knifemaker and BLADE® field editor, uses Instagram to generate sales and promote awareness among the buying public while also offering some insights into the knifemaking process. The value of experience is levered through the visual, and everybody gains.

“I do videos and tutorials and just basically little blurbs of me building a knife,” Kim commented. “I show the blade when I’m finished grinding and then the final product. That’s when it is put up for sale. Tutorials let people know this is why I charge what I charge, the little steps that you do when you’re making a knife. For example, when you’re forging you can show that process.”

Breed, whose videos are available on Instagram at kimbreed1911, advises that would-be Instagram users monitor their posts, beware of hashtags that are too generic, and frequently assess the return on their investment of time.

“A lot depends on the hashtags,” he said. “People can copy stuff, come up with a fake account, or hack into anything. Once you start, you’ve got to stay on it. I’ve gotten messages that don’t make sense, and you can catch situations where people have set up fake accounts and used your pictures to get people to send money first when they are scamming. Check every hashtag you do and make sure it’s going to a knife site. That was something I’ve picked up in the five or six years I’ve been doing Instagram.”

For those who choose to display their wares on Instagram or any other social media, Ellis recommends, “Scammers are everywhere, so do your due diligence and look deeper into anything that looks too good to be true. Haters are very common, so expect some negative comments and take them in stride. Getting into a heated battle only fuels the folks that like to fan the flames, so keep a cool head and remember that your goal is to promote the use and collecting of custom knives as an art form and tool.”

Knife Makers & Knife Collectors Connect

ABS master smith Neels van den Berg, who runs Black Dragon Forge based in South Africa, keeps his Instagram use in perspective. There are obvious positives and potential pitfalls, but he sees an incredible opportunity to raise visibility.

Showcase your knives as tools for culinary use, outdoor adventures or collectible art. The BBQ Chef’s Knife by Matt Williams has a 9-inch blade of 400-layer damascus forged from 1084 carbon and 15N20 nickel-alloy steels. Overall length: 15 inches.
Showcase your knives as tools for culinary use, outdoor adventures or collectible art. The BBQ Chef’s Knife by Matt Williams has a 9-inch blade of 400-layer damascus forged from 1084 carbon and 15N20 nickel-alloy steels. Overall length: 15 inches.

“Instagram is a free platform designed primarily for sharing photos and videos to foster social interaction,” Neels commented. “Users can reasonably expect to engage with its 2.11 billion users worldwide by uploading and interacting with content through likes, comments and direct messages [DMs#]. However, it’s important to understand that Instagram’s core purpose isn’t sales, it’s connection. Social media users should approach the platform as a tool for storytelling, networking, and building a community rather than expecting it to function as a direct sales engine. Understanding this distinction is critical when crafting a marketing strategy for your business.”

According to van den Berg, Instagram can amplify a knifemaker’s reach, create brand awareness and build credibility, which may lead to sales. But these are byproducts of fostering genuine engagement and building relationships through the platform.

“For a knife business or hobby, this means showcasing the passion and craftsmanship behind your work,” Neels remarked. “People will follow you for who you are—your skills, values and story—not just for what you have to sell. Social media users are often turned off by hard sales pitches, so the focus should be on creating content that resonates emotionally or intellectually with your audience. While sales might be part of the eventual outcome, it shouldn’t be the primary intent. Instead, aim to captivate your audience by showing the process behind your craft: the highs and lows, the struggles and triumphs, and the sheer joy of creating. When you build this level of connection, your products naturally become a way for followers to support you rather than a commodity you’re trying to sell.”

Videos of forging are another great way to demonstrate how knives are made and build interest among viewers. (Lin Rhea image)
Videos of forging are another great way to demonstrate how knives are made and build interest among viewers. (Lin Rhea image)

The secret to Instagram and social media success is certainly influenced by the delivery. Setting up a presence and presenting a perspective on the maker’s work and creative journey do make a difference.

“Users should expect to display their point of view in a clear and cohesive way,” related ABS master smith Nick Rossi of Vassalboro, Maine-based Nick Rossi Knives. “That means who they are, what they make, and why they make it. Social media is a relatively efficient way to project that to a potential customer. Sales and cultivating a customer are byproducts of that action.”

Setting Social Media Goals

Finding the right combination of social media outlets depends on the knifemaker’s perspective. Analyzing what the maker hopes to achieve drives the investment of time and attention.

“The best social media platform depends entirely on your goals, audience and the type of content you want to share,” van den Berg observed. “Each platform serves different purposes and attracts unique demographics, so a thoughtful combination works best.

According to Neels van den Berg, using in-progress shots can sidestep direct visual triggers while still highlighting a maker’s work. In his version of frame handle construction, bladesmith Salem Straub uses a threaded fastener in an internal slot in the frame to mechanically lock all the parts together tightly. (Salem Straub image)
According to Neels van den Berg, using in-progress shots can sidestep direct visual triggers while still highlighting a maker’s work. In his version of frame handle construction, bladesmith Salem Straub uses a threaded fastener in an internal slot in the frame to mechanically lock all the parts together tightly. (Salem Straub image)

“I have three primary goals on Instagram: 1) Showcasing my craftsmanship—I aim to highlight the intricate details and artistry of my creations, emphasizing their quality and uniqueness. This draws attention to the skill and effort behind each piece, making my work stand out in a crowded marketplace; 2) Building my brand identity—My goal is to establish a recognizable and authentic brand that resonates within the knifemaking community. This isn’t about a logo or maker’s mark, it’s about the story, values and personality behind my work; 3) Engaging with my community—Social media is about relationships. By actively participating in discussions, responding to DMs and comments and sharing insights, I foster a sense of community among knife enthusiasts and artisans.”

To achieve his goals, Neels relies on high-quality visual content, educational posts, consistent branding, and authentic interaction through responses to comments or joining a relevant conversation.

Ellis commented, “For retail sales, I prefer TikTok and YouTube. By utilizing every media that you can, your products are constantly put in front of not only the buying public, but you are also promoting yourself to show promoters and attendees.” Instagram and Facebook are the priorities for Rossi “because that’s what most of my customers use.”

He added, “I only have time to manage two platforms on top of being a professional craftsperson. For collecting and very niche topics, Facebook groups provide a wealth of knowledge. I have a private Facebook group for only my online and in-person students that has worked very well for advice and troubleshooting.”

“I want people to think of me as a skillful knifemaker with a focus on forging, a maker of interesting and innovative knives, and an experienced educator,” noted ABS master smith Nick Rossi, here giving a class on how to hand rub a blade to a satin finish in a BLADE University class.
“I want people to think of me as a skillful knifemaker with a focus on forging, a maker of interesting and innovative knives, and an experienced educator,” noted ABS master smith Nick Rossi, here giving a class on how to hand rub a blade to a satin finish in a BLADE University class.

Variations of content help keep social media posts entertaining and business related, and encourage a possible exchange of information.

“We live in a world of short, informative, and, let’s face it, lively. Clicks mean interaction, potential video formats,” Rossi observed. “Attention spans have grown shorter, and social media users have come to expect shorter, action-packed video. If you are going to have narration, subtitles are important. Users want the option of viewing without sound. Choosing popular songs may help your videos pop up in the algorithm more readily. I want people to think of me as a skillful knifemaker with a focus on forging, a maker of interesting and innovative knives, and an experienced educator. Each post focuses on one of those three things.”

Social Media Do’s And Don’ts

An awareness of certain standards provides knifemakers with extra assurance that their posts meet the chosen platform’s guidelines and minimize the risk of being flagged or taken down. Though Breed said he has done well with Instagram sales, the limitations of filters can have negative effects on viewership.

“Filters can hurt a knifemaker, so before you might get 100,000 or 200,000 views,” he said, “but you can’t do that if you picture a knife as an item of war, and watch out what you say about politics and whatever. Stay away from there.” Ellis agrees. “Stay away from animals or any violent visuals when posting,” he added. “Stick to the art or utilitarian uses for custom knives, and you should be OK.”

For van den Berg, compliance and creative communication are essential to success when visualizing or discussing knife-related topics on social media.

“The key is to reframe how your work is presented, ensuring that it aligns with platform guidelines while still engaging your audience,” he remarked. “Avoid flagged terms like ‘knife,’ ‘blade,’ or ‘weapon,’ and instead use neutral or creative alternatives such as ‘tool,’ ‘craft,’ or ‘functional art.’ These terms emphasize the artistry and utility of your pieces, shifting focus away from their potential as weapons. Repositioning your knives within broader contexts is another effective tactic. Showcase them as tools for culinary use, outdoor adventures or collectible art. Using in-progress shots, close-ups of handles, or images that emphasize materials and craftsmanship can sidestep direct visual triggers while still highlighting your work.”

Another knifemaker option is to place the work in context.

Knifemaker/BLADE® field editor Kim Breed advises that would-be Instagram users monitor their posts, beware of hashtags that are too generic, and frequently assess the return on their investment of time.
Knifemaker/BLADE® field editor Kim Breed advises that would-be Instagram users monitor their posts, beware of hashtags that are too generic, and frequently assess the return on their investment of time.

“To further circumvent restrictions, use storytelling and indirect messaging,” Neels encouraged. “Instead of explicitly saying, ‘Check out my new knife,’ share the inspiration behind the design or challenges faced during its creation. Platforms like Instagram and TikTok, which favor storytelling and visual diversity, are ideal for this approach. Additionally, private groups, email newsletters, or niche forums provide safer spaces to share uncensored content with your core audience.”

Reaching as many followers, shoppers, and potential buyers as possible, custom knifemakers who take advantage of social media routinely find that the reward is in lock step with the attention and time devoted to originate and maintain a strong presence. For those who manage it well, social media exists in the present and will remain a formidable asset in the future.

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