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Bloodlines: Emerson Knives Is A Family Affair

Mike Haskew
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Bloodlines: Emerson Knives Is A Family Affair

The Emerson Family shares decades and generations in knives.

Through the years, the name Emerson Knives has come to represent outstanding craftsmanship, quality and overall excellence in the knife industry. And each member of the Emerson family has contributed in his and her own way.

“They grew up in the shop, both Megan and Rachael while my shop was at home, and Lucas was born after we opened our production factory,” Ernest Emerson remembered. “So we fenced off a corner in Mary’s office for him as a baby and a toddler. They have all worked in the company since the beginning, and today Mary is the overall manager, Megan is director of marketing, Rachael is operations director, and Lucas is engineering and is being groomed to run the shop. Me, I’m the government mule.”

For some it would be enough to say with pride that the family has built the Emerson Knives brand together, each contributing in his or her own way. But the Emersons have taken their commitment to excellence and the already incredible story of their enterprise to a new level. Each one of them has completed an Emerson original, a knife of their own from concept to finish, and Ernest has had the pleasure of watching the extraordinary conclusion of this labor of love and pure knifemaking joy.

“I didn’t know any of them would ever want to make a knife,” he confessed, “and with their personal lives being so busy outside of work I didn’t know if they would ever have time to do something else. Megan is busy raising a family and runs a working ranch in Colorado. Rachael is busy with Jiu Jitsu and finishing up her second degree in nutritional therapy. Lucas is hardcore into training and computer programming, and Mary runs our business, which by itself is a 24/7 job, and still manages to cook dinner, keep our house in order, and even fits in a round of golf when she can.”

(From left) Megan, Mary, Ernest and Lucas hold their knives at BLADE Show 2025. Megan, Mary, Lucas and Rachael all had their knives debut at the show. Rachael was unable to attend due to a special family event. (BLADE® image)
(From left) Megan, Mary, Ernest and Lucas hold their knives at BLADE Show 2025. Megan, Mary, Lucas and Rachael all had their knives debut at the show. Rachael was unable to attend due to a special family event. (BLADE® image)

Still, with everything else that demands their most precious commodity—time—the Emersons have expressed themselves in the actual completion of the tool that has been the centerpiece of their lives as long as they can remember. It almost feels like destiny, like it had to happen. And despite the headwinds, it has.

Earliest Memories

Twenty-four now, Lucas started making knives officially in January 2023, though he has watched and learned since his earliest memories.

“I have always had a passion for making things, and with my dad as a mentor knifemaking has become second nature to me. For me, making knives was never a question of ‘why?’ but of ‘why not?’”

At BLADE Show 2025, Lucas chose to debut his newly designed MX-400 model. He wanted to produce a compact knife ideal for everyday carry.

“The MX-400 I had on display at the BLADE Show with pearl-handle scales will go into my personal collection,” he said. “I did bring three other MX-400s to the show, which I sold via lottery.”

Lucas makes knives part time and devotes plenty of energy first to the production company, Emerson Knives, Inc. At some point in the future, he may turn to knifemaking full time, but for now he manages the best of both endeavors. The most difficult part of the knifemaking process, he says, is grinding the blades.

Lucas Emerson debuted his MX-400, “a compact knife that is ideal for everyday carry,” at BLADE Show 2025. He put the one in mother-of-pearl scales he displayed at the show in his personal collection.
Lucas Emerson debuted his MX-400, “a compact knife that is ideal for everyday carry,” at BLADE Show 2025. He put the one in mother-of-pearl scales he displayed at the show in his personal collection.

“This is the quickest way to make mistakes,” he advised, “and it tends to be quite time consuming. Luckily, I’m pretty consistent and at this point I’ve got nothing to do but improve. On the other hand, the easiest part of my knifemaking is the hand finishing. This is where I take my time making sure everything is clean, even and symmetrical. I would consider it foundational for the knives I intend to create.”

For his next knife, Lucas intends to design a fixed blade for his own everyday carry. “I want something that I can carry with me at all times,” he noted, “and which I can rely on for any situation that may arise. It will need to be versatile, easy to maintain and easy to conceal on my person.”

Stay tuned!

Iron Lotus

Rachael Emerson Hardin has been making knives for about 20 years now, much of her experience being directly engaged in the business.

“I started assembling knives when I was in high school,” she remembered. “I would leave school after lunch my junior and senior year, drive to work, and assemble until they turned the lights off. I’m still here making knives years later, so I guess you could say I enjoy it.”

For years, the idea of designing and finishing her own knife had been in the back of Rachael’s mind.

“I always had favorite designs of my dad’s and thought how cool it would be to make something like that but with my own flair,” she reflected. “It wasn’t until recently when Lucas began coming up with his own designs that it dawned on me—maybe I can try this too! I’ve been around this my whole life. I know what works and what doesn’t. It couldn’t hurt to try.”

Rachael took the knifemaking plunge with her own design that she calls Iron Lotus, and she is enthusiastic about more knives to come. To date, there are two prototypes. It is her first design, and the plan is for her to keep one and possibly sell the other.
Rachael took the knifemaking plunge with her own design that she calls Iron Lotus, and she is enthusiastic about more knives to come. To date, there are two prototypes. It is her first design, and the plan is for her to keep one and possibly sell the other.

So Rachael took the plunge with her own design that she calls Iron Lotus, and she is enthusiastic about more knives to come.

“It’s hard to say that this is my favorite yet,” she related. “My favorite knives aren’t because of the way they look on paper generally. It comes after the production process. Behind the scenes I experience all the hiccups and fallbacks firsthand. Some knives go together like peanut butter and jelly. Others need tweaking.”

As for her own creations, the 37-year-old Rachael is optimistic about the future.

“Heck yeah, I’m going to make more knives. I live, eat and breathe knives. It’s in my blood. Eventually, the Emerson kids will take over the business. Making knives is fun. There is something very freeing about it. And I have the best teacher in the world.”

To date, there are two prototypes of Rachael’s Iron Lotus. It is her first design, and the plan is to keep one of them and possibly sell the other.

“I’m not sure about carrying it because it is a little fancy,” she observed. “I have a few ideas that I’ve been brainstorming. Currently I’ve been diving deep into Japanese-style blades. I’m a big fan of the Japanese tanto. I love simple designs too, like the gentleman’s folder.”

Paying Tribute

With her completed knife, Megan Emerson Gomez, 41, fulfilled an ambition that had lingered for many years. She has also been captivated by Japanese-style blades and used that energy in her own creation.

“I have always been a big fan of the traditional tanto,” she commented, “so I thought I would design something with that look. My design is called the Shinobi or M-Shinobi [Ninja]. This was the first knife I have entirely designed, but I have been involved and making design suggestions for many years. The CQC-17 model blade design was my idea, and I am sure you can see the similarities in my latest design.”

Megan parlayed her long-time admiration for tantos into the Shinobi/M-Shinobi. Though she has been involved in making design suggestions for many years, it is the first knife she designed entirely by herself. As she noted, “The CQC-17 model blade design was my idea, and I am sure you can see the similarities in [the Shinobi].”
Megan parlayed her long-time admiration for tantos into the Shinobi/M-Shinobi. Though she has been involved in making design suggestions for many years, it is the first knife she designed entirely by herself. As she noted, “The CQC-17 model blade design was my idea, and I am sure you can see the similarities in [the Shinobi].”

Megan was positive about the outcome of her completed project from the moment it began, and she looks back at the experience with quiet confidence.

“I never once doubted that I could finish it, but there was a moment where I had to decide if I was willing to push forward with a design that really didn’t look like a typical ‘Emerson.’”

Staying the course, she produced an exceptional piece and recalls that the most challenging aspect of the experience was paying tribute to history.

“The most difficult part was respecting the traditional tanto shape while still making it feel like mine. The style carries serious weight. It’s steeped in warrior culture, precision and intention. I wanted to channel that strength into something functional, modern and personal. Getting the balance right between tradition, aggression and clean design took the most time and thought. The easiest part then was handing it over to my dad. Once the design was dialed in, I knew exactly who should bring it to life.”

Mom’s Time

Each of the Emerson children accomplished an ambitious task that required a step up in devotion to the art and craft, the imagination and precision, that come together in a completed knife. Then, of course, Mom tried her hand as well, and the effort produced a beauty.

“I just started making knives about a year ago,” Mary remarked. “I have been around knives and knifemaking for years and years, so I kind of had a head start on things. I wanted to make a knife for a long time but it was hard to find the time. I’ve had lots of ideas and designs just sitting on the backburner for quite a few years.”

From left at right are Megan, Rachael, Mary with Lucas asleep in the baby carrier and Ernest. Among those in the front of the table at left are knife purveyors Bob and Linda Neal, Karen and Jay Sadow and BLADE Magazine Cutlery Hall-of-Fame® member Dan Delavan.
From left at right are Megan, Rachael, Mary with Lucas asleep in the baby carrier and Ernest. Among those in the front of the table at left are knife purveyors Bob and Linda Neal, Karen and Jay Sadow and BLADE Magazine Cutlery Hall-of-Fame® member Dan Delavan.

At long last, Mary’s time did come.

“I really have liked our CQC-15 and the Persian-esque blade styles, and I liked our Specwar handle,” she noted. “I like the curved and recurved blades, so my two designs, the Denali and the Falcon, reflect my likes in blade designs.

“Grinding the blade was the hardest part. It’s the dirtiest and most gritty part of the process. Getting one side ground the way I wanted it still left the other side to match up. The easiest part was the design. That was an easy day for me.”

During one grinding session, Mary toyed with the idea of halting the project—but only for a moment. “Ernie kept coming in and checking my grind lines. I told him to get out,” she smiled, “and I locked the grinding room door!”

Mary’s next knife adventure, though she will probably never be full time due to all her commitments to the business, is a fixed blade that is small enough to wear on her belt while riding her horse.

Next Mission

Along with Ernest, Mary looks at the body of work that surrounds the family, the business enterprise with so many facets and opportunities, the work of a lifetime, and the possibilities of the future. And yes, there is something else.

“Additionally,” she stated, “I’m very proud that my children are so interested in carrying on the family legacy. My next mission is to get the grandkids interested and involved. I’m very much looking forward to that.”

Mary’s partiality to curved and recurved blades is reflected in her two designs, the Denali and the Falcon, the latter here in two handle iterations. “Grinding the blade was the hardest part,” she noted. “Getting one side ground the way I wanted it still left the other side to match up.” During one grinding session, she considered halting the project—but only for a moment. “Ernie kept coming in and checking my grind lines. I told him to get out,” she smiled, “and I locked the grinding room door!”
Mary’s partiality to curved and recurved blades is reflected in her two designs, the Denali and the Falcon, the latter here in two handle iterations. “Grinding the blade was the hardest part,” she noted. “Getting one side ground the way I wanted it still left the other side to match up.” During one grinding session, she considered halting the project—but only for a moment. “Ernie kept coming in and checking my grind lines. I told him to get out,” she smiled, “and I locked the grinding room door!”

Meanwhile, Ernie surveys the current scene with satisfaction and gratitude. He wanted to be surrounded by a family of knifemakers and that has actually come to pass. His quiet observation has made the situation even more satisfying.

“I never expected any of them to make knives, but deep down of course I wanted them to,” he reflected. “In any endeavor you undertake, if your heart is not in it you will never have the same enthusiasm and drive than when you are doing something you love and want to do. It is very satisfying because I never pushed any of them to pursue the craft. All of them chose to do it of their own accord, and that makes it even better.”

Just to put the experience in perspective, Megan, Rachael and Lucas validate their father’s approach. They confirm that he encouraged, advised and taught but never forced a single grind, pin or hand finish on them.

“I wanted to design a knife for as long as I can remember,” Megan said, “and I think my whole life he has been training me to make knives and run the business. I have been involved in the business since I was a little girl. I watched him grinding knives in our garage, and the ladies we hired assembled knives in our living room.”

Rachael offered, “My dad has always provided feedback to me over the years. His father and sister, my grandpa and aunt, were both teachers. So, it’s always been something he has done.”

Lucas was a hands-on learner.

“From a young age, I remember my dad allowing me to help him with his own custom knives,” he recalled. “This is where I spent most of my time learning, not only the craft but also the principles behind Emerson designs. I work on my own now, but if I ever have any questions my dad is there to provide the best answers he can. He is an excellent teacher in this regard and has always been my go-to person for advice.”

In a most rewarding way, the knife life of the Emerson family has come full circle. The generations have discovered and honored that common thread, one that binds them together like nothing else.

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Knife Warranty Claims: The Good, Bad And Ugly

Mike Haskew
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Knife Warranty Claims: The Good, Bad And Ugly

Some knife warranty claims stretch the limits, while others are just plain bizarre.

It’s an honorable option, a sensible aspect of a purchase contract, but can be the source of confusion, head scratching and plain ridiculousness.

The warranty is the buyer’s insurance policy. It’s the seller’s willingness to stake a reputation for quality on the performance of the product—in this case, a knife—or at least that’s what it’s meant to be. However, there are times when real life strains what is actually believable. So, when we explore the nature of the warranty with some of the finest knife companies in the world, a few of their warranty claims simply flirt with the edge of reason.

Wacky warranty claims, contentions from supposedly “dissatisfied” customers, are out there. Frankly, when some of these are brought to light, they are simply unbelievable. Give a nod to customer creativity, but then get real and consider what happens to a solid performing knife that is not simply put to good use, hard work and tough labor. Beating a knife with a hammer, soaking the handle and blade in corrosive liquid for an extended period, or shooting the defenseless edged tool with a gun are all beyond the pale. Follow such escapades with a dose of sheer audacity and what you get are warranty claims that would make a rational individual shake his or her head.

After an Army Special Forces soldier used his Chris Reeve Yarborough to cut a live electric cable during a mission, he sent in the damaged knife with $50 asking for repairs. The company sent the $50 back along with a new knife. Anne Reeve keeps the original knife, shown here, in her safe deposit box.
After an Army Special Forces soldier used his Chris Reeve Yarborough to cut a live electric cable during a mission, he sent in the damaged knife with $50 asking for repairs. The company sent the $50 back along with a new knife. Anne Reeve keeps the original knife, shown here, in her safe deposit box.

“A customer put a MagnaCut blade in a glass of saltwater for seven hours and claimed the rusting and pitting should be covered by our warranty!” recalled Anne Reeve of Chris Reeve Knives. “Another requested we replace the packaging of the parts he ordered because they smelled too strongly of perfume or lotion. A customer sent a knife in for a re-blade, and the original blade had an arrow and a smiley face welded onto it.”

Really? Try a few more from Chris Reeve Knives. A customer complained that the phosphor bronze washers of his Sebenza had stains on them and simply would not accept that it was normal patina. He also complained that the knife was not sharp and he had to sharpen it himself. He ground half the blade away and then said he should get a completely new knife. A customer shot his knife with a 9mm pistol and then sent the company a photo of the broken knife while requesting a new one under the standard warranty.

At Chris Reeve Knives, reputation is everything, and the company stands by its knives. But let’s sanity check. Warranties are not “get out of jail free cards” for new knives.

“We try to keep consistency in our warranty, but we do sometimes vary on case-by-case situations,” Anne explained. “Over the years we have tightened things up a bit because often we felt we would give an inch and the customer would take a mile.”

“Normal blade finish wear is not covered under warranty,” Daniel Winkler observed. “Working knives should look used.” The Winkler Hunter Axe LT shows some normal finish wear here. (Covert image)
“Normal blade finish wear is not covered under warranty,” Daniel Winkler observed. “Working knives should look used.” The Winkler Hunter Axe LT shows some normal finish wear here. (Covert image)

Still, going out of their way to accommodate, the folks at Chris Reeve Knives have had some remarkable experiences.

“Mostly the customers who push back are simply rude,” Anne related. “Some just hang up or threaten to sell their knife. A customer informed us once that they had cut very acidic fruit multiple times and refused to clean the knife afterwards. They were furious we would not warranty their now rusted blade. Another customer took his brand new Umnumzaan and stabbed in into a tree. He then pried it 90 degrees to ‘tip test’ it. The tip snapped, and he claimed we should warranty the blade because what he did should not be considered misuse or abuse.”

Among unusual requests that Chris Reeve Knives went beyond the call of duty, or warranty, to make right, Anne has great memories. When a customer sent a 5.5-inch Green Beret in for recoating and it was lost in return shipping, the company made a custom iteration of the discontinued 5.5-inch knife from a 7-inch Green Beret blade blank. A sheath was available from the company archives and both were sent to the customer. When Reeve knives were abused by U.S. Customs officials, the company removed the scratches caused by bouncing around loose in transit, making the owner happy even though there was no warranty obligation. After an Army Special Forces soldier used his Yarborough to cut a live electric cable during a mission, he sent in the damaged knife with $50 asking for repairs. The company sent the $50 back along with a new knife.

Anne Reeve said a customer put the MagnaCut stainless steel blade of a Chris Reeve knife in a glass of saltwater for seven hours and claimed the rusting and pitting should be covered by the company’s warranty. Of course, like all stainless steels, MagnaCut stains less but is not stain proof. Quite understandably, the warranty request was denied.
Anne Reeve said a customer put the MagnaCut stainless steel blade of a Chris Reeve knife in a glass of saltwater for seven hours and claimed the rusting and pitting should be covered by the company’s warranty. Of course, like all stainless steels, MagnaCut stains less but is not stain proof. Quite understandably, the warranty request was denied.

“That original knife lives in my safe deposit box now,” Anne smiled. “On a few occasions we have older knives returned for sharpening and we can tell that the knife has been lovingly sharpened so many times that the blade is worn out. We have replaced the blades. When we made the One Piece Range, the paperwork specifically said that it was not a throwing knife and breakage from throwing would not be covered by warranty. A couple of times we had knives returned that were broken in two. The dings made it quite obvious that the knife had been thrown. Back then, we would replace the knife and give the customer a verbal slap on the wrist.”

Though Reeve, like other companies, has found it necessary to scrutinize warranty requests more closely in recent years, the dedicated effort to make the customer happy remains strong. At Chris Reeve Knives, the warranty is, as Anne puts it, “phenomenal.”

Judgment Calls

When did the rules change? Where does the line between normal expectation and radical knife recklessness blur?

A closeup of the blade and edge damage the Chris Reeve Knives Yarborough incurred after being used by the SF operative to cut a live electric cable is a tribute to the toughness of the company’s knives.
A closeup of the blade and edge damage the Chris Reeve Knives Yarborough incurred after being used by the SF operative to cut a live electric cable is a tribute to the toughness of the company’s knives.

“We’ve had a few forgeries sent to us for repairs,” commented BLADE Magazine Cutlery Hall-of-Fame® member Daniel Winkler of Winkler Knives. “Reactions from customers can get hot when they learn they have been duped. Not many warranty requests are really ‘crazy’; normal sharpening or sometimes fixing a damaged tip. People also request a re-finish for worn blades. If a knife fails for any reason we will either fix it or replace it, and normal blade finish wear is not covered under warranty. Working knives should look used.”

Winkler is sensitive to certain situations and sees extraordinary conditions for what they are.

“On a few occasions we have sent replacement knives without receiving damaged ones back,” he remarked. “One was a military user that used his knife to destroy a communications location in a war zone. He fried the power supply, and it fused the knife in the connection. Another was a hiker who saved his dog in a rockslide. His knife fell to the bottom of a gorge, so we replaced it, too. A third was used in a home situation where a man used his Winkler knife to stab an intruder to save his family. His knife was held as evidence, so we sent him a new one.”

A tornado destroyed a home and carried away a safe full of knives, including several TOPS Knives models. Two to three years later, the safe was found. The knives were intact and basically undamaged. When TOPS was contacted for help with slight rust on the blade and engraving, the company obliged at no cost.
A tornado destroyed a home and carried away a safe full of knives, including several TOPS Knives models. Two to three years later, the safe was found. The knives were intact and basically undamaged. When TOPS was contacted for help with slight rust on the blade and engraving, the company obliged at no cost.

There lies the real judgment call in rendering the warranty verdict. Does the customer’s story pass the simple test of reasonableness? If so, most companies might feel a pang of compassion and try to resolve the request in the interest of good customer relations. Still, it’s a tough challenge sometimes. As much as a customer might feel slighted if a warranty request is dishonored, the maker might well feel used when the circumstances are not plausible or strain the normal standards that most people would accept.

“We go out of our way to promote positive customer relations,” Daniel added. “We have replaced or refunded knives and axes that we probably shouldn’t have due to how they were damaged in abuse, like prying or throwing. We will normally take the hit, but if it happens again we do not honor any warranty.”

Case-By-Case Decisions

At TOPS Knives, warranty requests are evaluated with the best outcome in mind. “Our philosophy on our warranty is that we have some things that will void a warranty or won’t be covered under warranty, but we still handle them all on a case-by-case basis,” remarked general manager Craig Powell. “The people that are honest and level with us are way more likely to get their issue handled under warranty—even if it shouldn’t be—than people that are rude or clearly lying to us.

“I always find it funny when someone says something happened to their knife and then the actual damage to the knife in no way matches their description,” Powell continued. “Like, maybe they think we don’t actually use or test our own gear and so we don’t know what would cause certain things to happen. But really, in the end very few people that contact us with an issue treat us poorly. So the vast majority get help under warranty.”

Back to the TOPS Tom Brown Tracker that was lost in the Iraqi IED incident: the local who originally found it after the explosion used it to split wood. The saw teeth had basically been mushroomed out of existence from the local beating on the knife with a piece of metal. Considering how the U.S. serviceman originally lost the knife, TOPS fulfilled the warranty.
Back to the TOPS Tom Brown Tracker that was lost in the Iraqi IED incident: the local who originally found it after the explosion used it to split wood. The saw teeth had basically been mushroomed out of existence from the local beating on the knife with a piece of metal. Considering how the U.S. serviceman originally lost the knife, TOPS fulfilled the warranty.

Powell remembers certain circumstances that were somewhat unusual prior to a warranty request.

“When I had only been working here for a year or two, I took a call from a guy that was concerned about an issue with his Silent Hero. I talked to him for probably 15 minutes trying to figure out what was wrong. He kept saying that the knife was getting deformed and all he was doing was [batonning the blade spine to make] firewood. It probably took me longer than it should have, but I finally thought to ask what he was using as a baton. Turns out he was using the hammer side of a hatchet as his baton. So, a thick piece of metal is what he was using rather than a stick. I chuckled to myself and then we talked through the process of having a hatchet in your hand and choosing to use a knife to process firewood rather than the hatchet. He said ‘Oh!’ Then he basically apologized and said he understood. We didn’t end up fixing that knife for him, but that was because he realized what he had done and probably kept it as a reminder or trophy.”

On another occasion, a tornado destroyed a home and carried away a safe full of knives, including TOPS models. Some two to three years later, the safe was found. The knives were intact and basically undamaged. When TOPS was contacted for help with slight rust on the blade and engraving, the company obliged at no cost. Hikers have been known to lose TOPS knives on the trail and then miraculously find them months later. When the owner of one of these calls for warranty assistance, the TOPS folks fix the knives up, cleaning and refurbishing before sending them back in the context of a lesson learned: hold onto your valuables while out in the woods, especially your knife.

Extreme Situations

Military experiences have brought up several warranty requests, and these are sometimes caused by extreme situations. A Tom Brown Tracker was lost during the horrific explosion of an IED (improvised explosive device) in Iraq. The soldier involved was a chaplain, who returned some time later to the village where the explosion occurred. An old lady came forward with his knife after an interpreter and a $20 bill did some talking. The knife had been used in splitting wood.

“It was beat to hell,” Powell remembered. “The saw teeth had basically been mushroomed out of existence from this lady beating on it with a piece of metal. We swapped the soldier a new one and still have that knife [above] here today.”

A TOPS Knives Black Rhino was lost when a desert barracks burned to the ground. The scales were completely gone and the knife could not be repaired. TOPS sent the destroyed piece back to the serviceman along with a brand-new Black Rhino like this one.
A TOPS Knives Black Rhino was lost when a desert barracks burned to the ground. The scales were completely gone and the knife could not be repaired. TOPS sent the destroyed piece back to the serviceman along with a brand-new Black Rhino like this one.

A Black Rhino was lost when a desert barracks burned to the ground. The owner recovered the knife. Its scales were completely gone and the knife could not be repaired. TOPS sent the destroyed piece back to the serviceman along with a brand-new Black Rhino.

“While our policy isn’t a no-fault policy, we still cover most issues,” Craig said. “We know what we’re making is quality, and we strive for that on every knife. So anything that a customer’s knife should be able to do but doesn’t is going to get covered.”

In the broadest sense, the warranty works both ways. It protects buyer and seller and invokes the sense of quality and pride of craftsmanship, with reasonable performance expectation and use. There are outliers, but for the most part both knifemaker and knife user work together with warranties to achieve positive resolutions.

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Damascus Flaws: How To Spot Imperfections in Custom Knives

Mike Haskew
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Damascus Flaws: How To Spot Imperfections in Custom Knives

Learn how to spot flaws in Damascus steel blades, like delamination and inclusions, with expert tips from master bladesmiths.

They may be small and insignificant or obvious and glaring, but the skill that is involved in forging damascus steel and then fashioning blades and furniture that adorn custom knives like no other component naturally produces the potential for flaws in the steel itself.

Ironically, the structure of damascus steel, the allure of its beauty and texture, images and etched artistry, is brought together with the potential for a flaw. The production of billets that contain welded elements of 1080 carbon- and 15N20 nickel-alloy steels or other variations involves the marriage of metals. And like any union there is the possibility of a fault. The flaws may be serious or inconsequential. For the buyer, the ability to spot an imperfection and make a value judgment is highly beneficial in the ownership experience.

“I would say the most common flaw in a damascus blade is delamination,” ABS master smith Lin Rhea opined. “This shouldn’t be in a knife that is offered for sale. It’s usually evident as a hairline void in the layering and could occur anywhere on a blade. But I see them mostly in the deepest part of the blade as they are revealed in the bevel grinds. I believe this could be prevented by being sure the billet is up to proper welding heat before extracting it from the forge for the first weld in the particular stage of pattern development.”

In a similar perspective, ABS master smith Bill Burke sees imperfections as “a closed shut or incomplete weld that can be found anywhere on the blade. It can be seen as a dark or silvery line in lightly etched damascus or becomes a deep crevasse on heavily etched damascus—and it is caused by the smith not letting a billet soak at heat long enough before welding, or by manipulating a weld that has not been fully set and then working this tear back into the pattern.”

Fortunately for knife enthusiasts, most quality damascus knives are free of flaws, such as Eliot Maldonado’s saddlehorn trapper in Blackbird damascus by Chris Zimmerman. (Jocelyn Frasier image)
Fortunately for knife enthusiasts, most quality damascus knives are free of flaws, such as Eliot Maldonado’s saddlehorn trapper in Blackbird damascus by Chris Zimmerman. (Jocelyn Frasier image)

ABS master smith Steve Randall agrees and sees these types of imperfections and other potential flaws as well.

“The most common flaw on a damascus blade is the cold shut or an area where the pieces did not weld,” he observed. “It is not so much where it occurs on the blade such as the tip, edge or spine, but where the two different steels meet in the pattern. It’s the two steels that didn’t weld together that creates the flaw, and sometimes they aren’t noticed until [the maker starts] grinding into the blade.

“I would say another common flaw for damascus, mosaic specifically, would be shadow lines from the tiling process,” Steve continued. “Structurally they don’t change the steel, but they can detract from the mosaic visually.”

Both Rhea and Burke have encountered other flaws related to the fusion of the two steels in damascus.

“Less common is an inclusion of some kind,” Burke explained. “Twenty years ago flux inclusions were fairly common. Now one sees inclusions of weld filler material, though, overall, inclusions are less common now than 20 years ago. Inclusions are always found in between the elements that make up the pattern in a bar of damascus.”

Lin added, “I’ve also seen where the maker has left a bit of welding rod material within the damascus blade. This appears as a cloudy gray area and is pretty distinct in appearance from the hardened damascus. In the event wrought iron or mild steel is mixed with high carbon and the layering is of a relatively low number count, this could be part of the intended pattern, so it might be acceptable.”

“If you’re at a show and feel you want to look at the blade under a magnifier, then you should ask the maker if he minds,” Bill Burke noted. “If he says ‘no’ or gets upset, then thank him and walk away.” (Eric Eggly/PointSeven image)
“If you’re at a show and feel you want to look at the blade under a magnifier, then you should ask the maker if he minds,” Bill Burke noted. “If he says ‘no’ or gets upset, then thank him and walk away.” (Eric Eggly/PointSeven image)

According to ABS master smith/BLADE Magazine Cutlery Hall-of-Fame® member Steve Schwarzer, the particular combination of steels might raise the prospects for a flaw to develop, especially when the skills of the maker are evolving. He commented.

“The worst flaws are the delaminations and inclusions,” he said. “These might come from poor welding practices and the choice of alloys involved. Some welds are much easier to make than others and a higher level of skill may be required. Most of it is visual—bad welds are bad welds and don’t have the necessary molecular bond.”

For a potential buyer the ability to spot a flaw is an attribute that pays off when dollars are exchanged for the finished product. Although a flaw may have no impact on the structural integrity of the damascus steel itself, the degree of impairment—if any—ultimately lies with the potential buyer who assesses the level of discrepancy. Approaching a maker’s table, discussing the damascus, and taking a closer look at the blade will sometimes generate relevant conversation and exchange of information. Flaws can show up anywhere in damascus construction, so visual inspection comes with the territory.

Schwarzer advises buyers to check the knife thoroughly.

“Using magnification helps. If the blade doesn’t look right, it probably isn’t. A flaw may show up as a bright spot in a dark area, and some skilled people can reweld their billets. I do that regularly and especially when I do guards and stuff, taking a light hammer and welding heat to fix it, but not everything can be repaired. Sometimes there is no way to repair it, and that is one reason why I hardly ever sell damascus steel—[and if I do] only to skilled professionals.”

Visual Signs

When a buyer’s interest is piqued, the next steps involve courtesy and cordial exchange with the knifemaker.

“Flaws in damascus can range from very hard to see to blaring and obvious,” Burke remarked. “An experienced eye in good light and magnification are the best ways I know to detect them. Some can be felt, but feeling the blade and running your fingers up and down and across it are not reliable and can cause rust and tarnish. If you’re at a show and feel you want to look at the blade under a magnifier, then you should ask the maker if he minds. If he says ‘no’ or gets upset, then thank him and walk away.”

Steve Randall said most makers would not intentionally sell a knife knowing it had a flaw or without first pointing it out to the buyer. Gene Osborn (right) discusses a damascus knife with a customer at a past BLADE Show. (Eric Eggly/PointSeven image)
Steve Randall said most makers would not intentionally sell a knife knowing it had a flaw or without first pointing it out to the buyer. Gene Osborn (right) discusses a damascus knife with a customer at a past BLADE Show. (Eric Eggly/PointSeven image)

Randall concurs with that point of view.

“Bright light sure helps,” he observed. “It is difficult to find small flaws once a damascus blade has been etched. Running your fingers over the blade won’t tell you anything, and if you’re at a show I advise not doing it. Using a magnifying glass at the maker’s table could be awkward, and I would suggest respectfully asking before doing it.”

Historically, skilled makers and smiths have assessed their own work and identified flaws, correcting them or chalking up a flawed blade to the hazards of the craft. When ABS master smith Mike Quesenberry considers the flaw in context, he is frank in his response.

“The smith sees the weld lines with flaws before the steel is etched. To me that is something the smith has to deal with. I don’t have any problem scrapping a blade if [a flaw] shows up in the process. The hand sanding and grinding are where the time is really invested, and makers should be honest with their work. If you see a flaw, scrap it,” he stressed. “The best way to fix a flaw is to throw that blade away and start over again.”

Schwarzer smiles when he relates the style of an ancient practice.

“Japanese smiths worked out a way to hide a flaw if it didn’t mechanically affect the viability of the blade. They would do a nice little gold inlay. That was done in Persia, too, and a lot of other places. They would put artwork over something that was unseemly. If you have $300 in a blade and there is no mechanical problem, then that is a way to make it go away. It’s been said that the difference between a journeyman and a master smith is the size of the screw-up you can fix.”

Rhea acknowledges the human side of the situation. There may be a temptation to continue working on a knife with a flaw in the damascus, but then comes the realization on the part of the maker that causes him to refrain from that option. “When a buyer sees any odd discoloration in the form of surface treatment, color or texture, ask questions and give the maker the opportunity to explain or rethink his position,” he noted.

Resolving Situations

Bladesmiths and custom makers are genuinely committed to excellence. However, at times there may be a situation involving a flaw. When a purchaser detects something that may or may not be an imperfection, talking with the maker can resolve the situation to mutual satisfaction.

A welding flaw might pass a cursory glance, which is why you should always inspect any damascus blade you plan to buy closely.
A welding flaw might pass a cursory glance, which is why you should always inspect any damascus blade you plan to buy closely.

“If you buy a blade and then find a flaw, you should contact the maker and ask them about it,” Burke advised. “If it is something you cannot live with, ask for a refund or allow the maker to replace the flawed knife. In most cases, the maker is going to be unaware of the flaw. If the maker is aware of the flaw or refuses to do anything for you, then you either have to keep it and say, ‘Oh well’ or sell it to someone else with full disclosure of the flaw.”

“When I have a buyer who experiences issues of any kind, I would prefer that they contact me and give me the opportunity to evaluate, discuss and make it right,” Randall noted. “I’m sure most makers would not intentionally sell a knife knowing it had a flaw or without first pointing it out to the buyer.”

Rhea sees the interested parties taking the high road in almost every case. “Most makers will honestly make a sale with good intent and in good faith,” he reasoned. “If there’s a problem just contact the maker and let him or her explain or make it right. Ultimately his reputation is on the line and he deserves the chance to make it an overall pleasant experience.

“When it comes to flaws and issues,” Lin concluded, “we all have them and we handle them in our own ways. To the degree we act to prevent problems for the buyer we also prevent problems for ourselves as makers, as well as enhance our reputation. Leaving flaws in damascus will reflect on our honesty and our attitude toward the buyer. This is something to think about very seriously. So, will there be problems? Yes, but we should go to great effort to prevent them rather than having to correct things that might be perceived as an oversight. In the end, we are human and will want to use common courtesy and humility in our dealings.”

More On Damascus:

Hottest Damascus Patterns, According to Top Bladesmiths

Mike Haskew
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Hottest Damascus Patterns, According to Top Bladesmiths

Top bladesmiths discuss the three hottest damascus patterns.

As damascus patterns emerge through the years, their popularity waxes and wanes. The steel itself, layers of intrigue and interest, experimentation and innovation captivate the steel forger, the custom maker and the knife-buying public like nothing else. The patterns abound and in recent reviews of photos, commentary from those in the business and observation it appears that the feather and mosaic, with twist not far behind, have been and continue to be hot.

“I agree that feather and mosaic patterns are predominantly what is made, or certainly what is getting photographed [a lot],” related ABS master smith Steve Randall. “Both patterns are popular because they have lots of character and can be pretty dramatic. Feather patterns are very cool because they can be unique yet still hold true to the feather pattern. The mosaics can move off into so many different styles. They allow the maker to be really creative.”

Feather Damascus Pattern

ABS master smith Bill Burke praises the versatility of the feather pattern and its breadth of presentation.

“I think that you see a lot of feather pattern because it is so striking and looks good on almost any knife style,” he commented. “It is also quite a challenge to produce. A well-done feather will have a flow from end to end with nicely curved veins, while a feather that has interruptions in the pattern or has the center area drawn out into a long ‘V’ shape then curves out rather sharply to the edge is not done so well. I don’t feel a feather pattern is difficult to do after one has mastered pattern welding. It becomes difficult when an inexperienced smith rushes into trying to make a feather before mastering basic pattern-welding techniques.”

“Feather patterns are very cool because they can be unique yet still hold true to the feather pattern,” Steve Randall observed. He matches up the feather pattern with a mastodon ivory handle on his frame-handle hunter. Overall length: 9 inches. (SharpByCoop image)
“Feather patterns are very cool because they can be unique yet still hold true to the feather pattern,” Steve Randall observed. He matches up the feather pattern with a mastodon ivory handle on his frame-handle hunter. Overall length: 9 inches. (SharpByCoop image)

BLADE Magazine Cutlery Hall-of-Fame® member and ABS master smith Steve Schwarzer sees the artistry in the feather pattern as well, and when he considers the magnitude of its relative surge concludes, “Absolutely. What you don’t see much of is images and the forge skill required to put that in damascus. Both the feather and mosaic damascus are fairly easy to do, and with the internet there are thousands of recipes out there with visual step-by-step instructions. I did the first feather pattern ever done in a folding knife, and [Cutlery Hall-of-Famer] Don Fogg in his Life and Death Dagger was the only one who did a feather pattern before me. I did the first that was recognizable in the folding knife.”

Degree of difficulty is and will forever be a matter of individual perspective and opinion. Randall stresses the experience level of the maker in fashioning the feather pattern.

“I would say that feather damascus can be a difficult pattern,” he offered. “There are a lot of pieces that have to forge weld together, which opens the opportunity for cold shuts or poor welds. Once that happens, you’ve pretty much got a paper weight.”

Mosaic Damascus Pattern

The perspective on mosaic damascus is similar to that of the feather pattern. Its uptick in popularity is driven by the skill of the maker and the diversity of the presentation. Mosaic makes its statement in both subtle and bold blade aesthetics.

“While a simple twist pattern is rather mundane,” Bill Burke noted, “when four or more bars are twisted in opposite directions and stacked one on top of the other to create a Turkish twist, the result can be striking.” A lavish five-bar Turkish-twist damascus comprises the blade, including the Spanish notch at the base of the edge, on Mike Quesenberry’s Mediterranean bowie. (SharpByCoop image)
“While a simple twist pattern is rather mundane,” Bill Burke noted, “when four or more bars are twisted in opposite directions and stacked one on top of the other to create a Turkish twist, the result can be striking.” A lavish five-bar Turkish-twist damascus comprises the blade, including the Spanish notch at the base of the edge, on Mike Quesenberry’s Mediterranean bowie. (SharpByCoop image)

“Mosaic patterns do lend themselves to individual creativity,” Burke remarked. “They can vary from not too hard to extremely difficult to do. Mosaics are limited only by the smith’s skill and imagination. Mosaics that are done well will have the patterns lined up with no unintended interruptions in the elements and all the individual tiles matched up well.”

Tiles, incidentally, are the small, angled pieces of steel that are carefully assembled and then forge-welded together to create the distinctive, repeating mosaic pattern. The tiles are cut from the billet or block of welded steel that forms the basis for the creation of any damascus pattern. The tile cuts are made with a scarf joint that facilitates the joining of the surfaces to be mated during the forge welding process.

ABS master smith Mike Quesenberry is a big fan of the mosaic pattern, particularly its possibilities for expression.

Mike Quesenberry stated the black and silver contrast of mosaic patterns can do “all kinds of crazy, wild things. It is huge with so many possibilities, and it turns out to be a really good pattern that some like in a fine look and others prefer in a bold statement.” The Sobral Brothers go bold with the pattern on their keyhole subhilt fighter. Overall length: 13 inches. (SharpByCoop image)
Mike Quesenberry stated the black and silver contrast of mosaic patterns can do “all kinds of crazy, wild things. It is huge with so many possibilities, and it turns out to be a really good pattern that some like in a fine look and others prefer in a bold statement.” The Sobral Brothers go bold with the pattern on their keyhole subhilt fighter. Overall length: 13 inches. (SharpByCoop image)

“I love mosaic and its creativity,” he declared, “along with the fact that smiths can take mosaic and make it bold or fine and there are all sorts or variations that make it fantastic, from W’s to many others. You can add different layers to fine and thick material, 1080 or 15N20 or whatever alloy. That black and silver contrast can do all kinds of crazy, wild things.

It is huge with so many possibilities, and it turns out to be a really good pattern that some like in a fine look and others prefer in a bold statement.”

Things To Look For

Assessing the quality of the individual feather and mosaic product is an exercise in discernment and preference along with the display of basic skill that is evident. Randall takes a subjective point of view.

“One of the most important signs of a feather pattern that is well done is its flow through the blade,” he observed. “The feather should flow from the center of the ricasso through the blade and out the tip. Both feather and mosaics being well done are in the eye of the beholder. Layer count has a big impact. The higher the count does not always make the pattern better.”

Bill Burke indicated a well-done feather pattern will have a flow from end to end with nicely curved veins. ABS master smith Scott Gallagher nails the concept in the feather-pattern blade of his Dolan Dagger Folder. Closed length: 5.25 inches. (Jocelyn Frasier image)
Bill Burke indicated a well-done feather pattern will have a flow from end to end with nicely curved veins. ABS master smith Scott Gallagher nails the concept in the feather-pattern blade of his Dolan Dagger Folder. Closed length: 5.25 inches. (Jocelyn Frasier image)

Schwarzer agrees that the individual’s taste has a tremendous weight in the interpretation of well-done damascus.

“It’s all subjective,” he related. “It involves how pleasing to the eye the fine or bold patterns are. The whole thing can’t be just a hodgepodge of stuff stuck together. It has to tell a story, and if it tells a story, then it is art—and to a lot of people it is great art. There is stuff out there that is incredibly complicated to do that looks simple on the face of it, but it isn’t. We are in the infancy of pattern welding, and a lot of it has come from Daryl Meier.

“There have been patterns out there with faces and images in them since the 1700s,” Steve continued, “and now we are painting with steel. When Bill Moran showed up with random-pattern blades in the early ’70s, he was continuing something that had never stopped. Pattern welding has probably been going on for 4,000 years, and you have to forge, fold and weld the iron to clean it. Then, when you get the alloy in there, it shows the pattern. Pattern welding, including feather and mosaic damascus, is a technique and a skill set that is developed. Once you develop that skill, the trick is to get it back together without flaws, turning something mundane into something striking. Mosaic requires more planning and skill than feather.”

One of the pioneers in—and a most outstanding forger of—Turkish twist damascus is Jerry Rados (inset), who forged the steel for the Wall Street Knife by Joe Kious. Jerry’s Turkish twist has what Steve Schwarzer calls a kaleidoscopic appearance. (KnifePurveyor.com knife image)
One of the pioneers in—and a most outstanding forger of—Turkish twist damascus is Jerry Rados (inset), who forged the steel for the Wall Street Knife by Joe Kious. Jerry’s Turkish twist has what Steve Schwarzer calls a kaleidoscopic appearance. (KnifePurveyor.com knife image)

Twist Damascus Pattern

Although some patterns may stand out from others for a while, there are always those that maintain their place among the most popular. Twist patterns and specifically Turkish twist are regularly in the conversation when collectors are seeking their prize blade.

“Twist and Turkish twist are the same and totally different at the same time,” smiled Burke. “While a simple twist pattern is rather mundane, when four or more bars are twisted in opposite directions and stacked one on top of the other to create a Turkish twist, the result can be striking. However, like almost all other patterns these two can also be drawn out or stretched too far, which detracts from the looks of the pattern. While a simple twist is relatively easy, the Turkish twist billet is wrought with potential for failure and is very labor intensive.”

A key element in producing twist patterns is control, and Schwarzer respects the precision required.

“Very precise control is necessary in the twisting so you get that twisting the same in fine or coarse layers,” he said. “Jerry Rados was the American guy who did the most of that, and we both learned from Daryl Meier in Carbondale [Illinois]. The early blades made by Daryl in the 1980s are beautiful, but you’ve got to be almost [obsessive compulsive] to produce that stuff. It involves a lot of planning and the turns have to be precise. You can twist mosaic and make it look like a kaleidoscope.”

Chris Roosendaal’s feather pattern in 1084 carbon- and 15N20 nickel-alloy steels borders on the mesmerizing. The scales are black G-10 and Micarta®. Overall length: 11.22 inches. (Rod Hoare image)
Chris Roosendaal’s feather pattern in 1084 carbon- and 15N20 nickel-alloy steels borders on the mesmerizing. The scales are black G-10 and Micarta®. Overall length: 11.22 inches. (Rod Hoare image)

Randall says that a Turkish twist done right is “very classy.” Its degree of difficulty is a cut above basic twist, but in his experience, it isn’t quite as demanding as feather pattern work due to the requirement of fewer pieces to “cut, flip and weld together.”

When Quesenberry talks Turkish twist, he affirms his love of the look but decries the amount of waste he sees in its production.

“I’m a huge fan,” he commented, “and I love the fact that it’s an appealing pattern. But I don’t like the huge amount of waste. To me, the cool pattern is in the middle third of the bar. There aren’t really a lot of American and European guys into Turkish twist, but some of the South Americans are really pros who are turning out some bold patterns.”

Shifting Damascus Pattern Preferences

Of course, the shifting preferences and envelope of creativity that is constantly pushed keep the damascus conversation going. And it is likely to remain lively long into the future.

“Trying to say one pattern or another is more popular is always subjective,” Randall concluded. “There are some great classic patterns that are very appealing. For example, the ladder, twist, crushed W’s and others. Sometimes the mosaics get visually busy, so some people don’t enjoy them as much, but who doesn’t love a feather or explosion pattern? They are too cool. Some of it does depend on the overall knife design. The blade design and size with guard and handle can enhance—or take away—from a pattern.”

Considering damascus pattern popularity past, present and future, one element is certain. The driving force of creativity and the artistry of the forge will keep this ancient steel relevant for generations to come.

More On Damascus:

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.

More On Knife Business:

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.

Read More:

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.

Check Out More Buyer’s Guides:

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