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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.

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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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