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Roadblocks to U.S. Knife Manufacture

Mike Haskew
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Roadblocks to U.S. Knife Manufacture

Leading domestic factory companies outline barriers to producing knives in America.

The slogan “Made in the USA” carries a specific meaning across the globe. American knife manufacturers tout that aspect of their operations with justifiable pride. Still, they face challenges in the arena of worldwide competition, constantly seeking methods and management that offer the best opportunities for success.

In addition to the inherent competition related to the actual quality of their finished products—the attributes that compel the buyer to choose their knives over that of a competitor—American cutlery manufacturers often find themselves up against a foreign-government-subsidized or bankrolled competitor. Trade barriers may prevent their products from reaching a broader customer base, and the shifting costs of labor, materials and production demand attention.

Export Hurdles

To remain successful in today’s competitive knife marketplace, Anne (left) and Tim (right) Reeve of Chris Reeve Knives focus on consistency in the company’s brand and models, as well as uncompromising quality in materials, designs, workmanship and customer service.
To remain successful in today’s competitive knife marketplace, Anne (left) and Tim (right) Reeve of Chris Reeve Knives focus on consistency in the company’s brand and models, as well as uncompromising quality in materials, designs, workmanship and customer service.

“One major challenge is the cost of distributing products overseas, particularly to the European Union,” related Curtis Iovito of North Carolina-based Spartan Blades. “The combined impact of Value Added Tax [VAT] and customs duty can exceed 21 percent, and in some countries it is even higher. These additional costs ultimately get passed on to the consumer, making it harder to remain competitive.”

The Spartan experience is not unique, and in order to address the issue American knife manufacturers naturally gravitate toward the domestic consumer.

“One of our strategies is to focus on the American market,” Curtis advised, “where consumers value high-quality products and excellent customer service. We optimize our manufacturing processes for maximum efficiency, allowing us to control costs as effectively as possible.”

Such an inward perspective is driven both by access to markets and by an acknowledgement of the barriers that exist in global trade.

Illustrative of Chris Reeves Knives' approach to the market is the most American-looking of the U.S.-based manufacturer’s knives: the Sebenza 31 CGG Forever Flag Drop Point. MSRP: $550.
Illustrative of Chris Reeves Knives’ approach to the market is the most American-looking of the U.S.-based manufacturer’s knives: the Sebenza 31 CGG Forever Flag Drop Point. MSRP: $550.

“In regard to stuff abroad, we source everything in the U.S., period,” asserted Ernest Emerson of Emerson Knives, Inc., located in the Los Angeles, California, area. “We don’t get steel screws or handle materials except from U.S. suppliers at this point, so availability of materials doesn’t affect us. Also, 99 percent of our product is sold domestically, so we don’t have any dealers set up in Europe, although there is a tremendous fan base for us there.”

The benefits of an established brand and loyal following are hallmarks of the success story at Chris Reeve Knives, located in Boise, Idaho, as well.

“We are in the very fortunate position of having established a legacy brand many years ago and are supported by an incredibly loyal customer base,” explained Anne and Tim Reeve. “The market has changed considerably in recent years, but we have remained stable. To keep competitive, we focus on consistency in our brand and our models and uncompromising quality in materials, designs, workmanship and customer service.”

Dangers Abroad

Domestic competition is welcomed among American knife companies. Consumers are invited to question, evaluate and commit with their dollar at home. However, in the wider world there are obvious signs that the playing field is far from level when it comes to price points.

Known worldwide for his custom as well as his factory knives, Ernest Emerson—putting blade to grinding belt here—said he finds Chinese knife companies and their advantages a real danger to the knife industry overall. “They are ruthless,” he opined, “and their endeavors inside our industry are the same exact game plan as the Chinese government is using across all U.S. industries—break them down, undercut them, put them out of business.”
Known worldwide for his custom as well as his factory knives, Ernest Emerson—putting blade to grinding belt here—said he finds Chinese knife companies and their advantages a real danger to the knife industry overall. “They are ruthless,” he opined, “and their endeavors inside our industry are the same exact game plan as the Chinese government is using across all U.S. industries—break them down, undercut them, put them out of business.”

Further, the encroachment of foreign knife companies into the American market with the economic power and financial backing of their government’s bankroll is troubling—and among these foreign companies no others stand out more prominently than those headquartered in the People’s Republic of China.

“A very real danger to our industry is the Chinese knife companies,” Emerson declared. “They are ruthless, and their endeavors inside our industry are the same exact game plan as the Chinese government is using across all U.S. industries—break them down, undercut them, put them out of business. They are funded by the Chinese Communist Party, and don’t get me wrong, the product is good. But what happens is they come in at prices just under [Emerson], Buck or Spyderco. So, in the consumer’s mind they may reason that the Civivi or WE knife is $50 cheaper and buy that knife. It’s a shame because we have seen companies that have been in business for years go out of business. If you take an 18-to-25 percent hit to the bottom line, it affects you like crazy. That’s millions in revenue.”

Iovito adds to that perspective.

“There are two main disadvantages,” he said. “Increased competition from Chinese-made products and rising concerns about counterfeiting. The lower labor costs and government funding available to manufacturers in China create a significant competitive gap. Additionally, counterfeits have become harder to distinguish from genuine American-made knives, especially as platforms like Alibaba make it easier for counterfeiters to distribute their products. The situation is compounded by foreign-government-backed knife companies with substantial marketing budgets, which make it difficult for smaller U.S. companies to compete at sub-$150 price points. We’re also seeing foreign interests penetrate U.S. industry organizations through donations and sponsorships aimed at market expansion.”

At Chris Reeve Knives, the owners acknowledge the market conditions that drive profitability.

In terms of state and local taxes and restrictions, the Chris Reeve Knives business environment in Idaho seems to be better off overall than some other domestic knife manufacturers. “We are fortunate that Idaho is a good place to do business,” Anne Reeve noted, “and there are no particularly difficult restrictions.”
In terms of state and local taxes and restrictions, the Chris Reeve Knives business environment in Idaho seems to be better off overall than some other domestic knife manufacturers. “We are fortunate that Idaho is a good place to do business,” Anne Reeve noted, “and there are no particularly difficult restrictions.”

“It is becoming more and more expensive to produce knives or anything else in the USA, but we are grateful that we established ourselves as much USA-made as is possible many years ago,” Anne commented. “Labor costs have skyrocketed and all materials have increased. We monitor costs closely and negotiate as much as feasible with our suppliers. We focus on innovative manufacturing processes, employee training and scrap reduction without compromising quality.”

Hence, keeping costs contained in light of wage pressure, materials availability driven by demand, and other factors that are basic for any business—including utility costs, equipment maintenance, upkeep and upgrades, and the retention of skilled and even unskilled workers—is always a priority. The companies who manage such challenges best are those that survive and prosper.

Trade Protection

However, where is the pressure point or the point of relief when it comes to foreign competition? How does the American knife manufacturer remain competitive and keep each of these critical components in fragile balance? Perspectives on trade protection are somewhat varied but they may well have a purpose in the overall economic scheme of things.

“We see an average Total Import Tax of about 22.4 percent on folding knives and 23.6 percent on fixed blades,” Iovito related. “Often it is much higher. There aren’t many solutions to this issue other than competitive tariffs and trade agreements. The VAT and tax outlay by our dealers can almost double the price of our knives in the European Union. Additionally, the dealer doesn’t receive a refund on the VAT until the knives are sold. This effectively disincentivizes the stocking of American knife brands.

Spartan Blades won its first-ever BLADE Magazine Overall Knife-of-the-Year® Award last year for the full-tang Clandestina fighter designed by BLADE Magazine Cutlery Hall-of-Fame® member Bill Harsey. The 5.5-inch blade is flat-ground CPM MagnaCut stainless steel. It is also available in a flat-dark blade finish and canvas Micarta® handle. MSRP: $360.
Spartan Blades won its first-ever BLADE Magazine Overall Knife-of-the-Year® Award last year for the full-tang Clandestina fighter designed by BLADE Magazine Cutlery Hall-of-Fame® member Bill Harsey. The 5.5-inch blade is flat-ground CPM MagnaCut stainless steel. It is also available in a flat-dark blade finish and canvas Micarta® handle. MSRP: $360.

“I believe in maintaining ‘Most Favored Nation Status’ with our allies,” Curtis added, “but tariffs could still be adjusted to ensure fair competition. Ideally, tariffs should be leveled in a way that provides an advantage to U.S. manufacturers, helping to balance the playing field. For those countries that are international trade competitors, I feel their products should be taxed at an equal rate or in a manner that places them at a competitive disadvantage.”

Fair is fair, say Anne and Tim.

“Tariffs hurt the international dealers and, as a result, the end users. The dealers often work on reduced profit margins simply to sell the product at an affordable price. We are fortunate to be an accepted luxury brand and, without sounding arrogant, our international end users generally have higher disposable incomes. There is little that we can offer by way of incentives or discounts to combat tariffs.

“First reaction [to U.S.-imposed tariffs] would say that reciprocity would be fair,” the Reeves concluded. “We should charge as they [other nations] charge us. However, the reality is that high tariffs on incoming knives hurt our industry by making everything more expensive. Tariffs are such a political thing, and a general rise in tariffs is not a good answer to the problem.”

Domestic Taxes & Restrictions

“The Los Angeles council passed a law that the minimum wage will be $30 per hour by 2028,” Ernest Emerson noted. “They are sneaky in that they apply this only to groups like ‘hospitality workers,’ but the truth is that any worker can look at what they are currently doing and say, ‘I can fold bedsheets for $30 an hour instead of doing this.’”
“The Los Angeles council passed a law that the minimum wage will be $30 per hour by 2028,” Ernest Emerson noted. “They are sneaky in that they apply this only to groups like ‘hospitality workers,’ but the truth is that any worker can look at what they are currently doing and say, ‘I can fold bedsheets for $30 an hour instead of doing this.’”

In addition to foreign competition, there are restrictions right here at home that challenge the knife manufacturer on a daily basis. That situation is particularly true for Emerson Knives, Inc. Ernest says the continual pinch of California’s local and state taxes, restrictions and legislation impede his company’s performance. But don’t jump to the conclusion that simply relocating to another state holds the answer. Emerson is committed to his employees, many of whom have been with him for more than 25 years. They have families and deep roots in California and can’t relocate to a more business-friendly state.

Still, Ernest bristles at the simple fact that taxes are levied against every piece of equipment on his facility’s floor. He must follow rigorous guidelines on disposal of byproducts, pay fees for parking, comply with building restrictions, and fork over a fee for a license to operate his laser machines. All the while, he is aware that other companies operate under the radar, ignoring these state-imposed requirements.

“The Los Angeles council passed a law that the minimum wage will be $30 per hour by 2028,” Ernest noted. “They are sneaky in that they apply this only to groups like ‘hospitality workers,’ but the truth is that any worker can look at what they are currently doing and say, ‘I can fold bedsheets for $30 an hour instead of doing this.’ That means that everybody has to pay $30 an hour to retain their workers. Imagine what the cost of a Big Mac will be when fast food workers at McDonald’s are paid $30 an hour.”

In contrast, the Chris Reeve Knives business environment in Idaho is apparently better overall.

“We are fortunate that Idaho is a good place to do business, and there are no particularly difficult restrictions,” Anne remarked. “One of the biggest issues for small businesses is high rates of taxation. I understand that taxes are necessary, but I would rather invest in my employees and equipment than see my tax dollars spent unwisely. The American drive to make high quality goods is still very much alive! We are fortunate to have employees who are proud to work for an ‘all American’ company and strive to make the very best. Most of our market is in the USA and our customers appreciate the fact that we are so doggedly ‘Made in Idaho!’”

Anti-Knife Laws

For years, the issues surrounding restrictive knife laws have influenced American knife manufacturers, from the types of knives they make domestically to their ability to import or export. These days, some softening has been experienced, particularly due to the efforts of groups like Knife Rights and the American Knife & Tool Institute (AKTI), which have challenged some laws in court or successfully lobbied to keep others from reaching the books at the federal or state level.

“Our knives don’t gain too much attention in anti-knife legislation,” Anne said. “The one-hand-opening issue that caused so much concern some years ago has subsided. AKTI and Knife Rights have done yeoman’s work in overturning dated and irrational legislation, and we are happy to support them.”

Interstate commerce remains solid for Emerson as restrictive knife laws appear to be on the wane.

“Knife restrictions state to state don’t really affect us,” he commented. “I’m not aware of any state that we can’t ship to. Thank goodness for AKTI and Knife Rights fighting the good fight for us. I’ve always told everybody that we have to fight for the 2nd Amendment whether you are a gun person or a knife person. No matter what, where guns go, knives are soon to follow.”

When it comes to tariffs, Anne and Tim Reeve recommend reciprocity. The USA should charge other nations as those nations charge the USA, the Reeves stated, though noting that “high tariffs on incoming knives hurt our industry by making everything more expensive.” Here Tim inspects a tray of folders in the Chris Reeve Knives manufacturing facility.
When it comes to tariffs, Anne and Tim Reeve recommend reciprocity. The USA should charge other nations as those nations charge the USA, the Reeves stated, though noting that “high tariffs on incoming knives hurt our industry by making everything more expensive.” Here Tim inspects a tray of folders in the Chris Reeve Knives manufacturing facility.

Iovito added a positive point of view.

“In the U.S., legal restrictions on knives are often based on a mistrust of citizens or as a way for a politician to appear tough on crime instead of addressing the root cause of crime in his district. However, I’m seeing positive change as lawmakers and the public recognize that most people carry knives as tools rather than weapons. As knife laws in the U.S. evolve, I’m optimistic about their eventual liberalization. While I won’t comment on laws in other countries, most of these laws tend to be reactive responses to broader societal issues.”

American Resilience

Considering the challenges of modern business and the complications presented, American knife companies have proven remarkably adaptable and resilient.

“The thing that has kept Emerson Knives, Inc., afloat,” Ernest explained, “is being the right size to be super flexible. We are small and every operation is done in-house, and I have worked with companies over the years to make smaller amounts of knives to fill orders. That way we don’t sit on ‘XYZ number’ of knives and wonder what we’re gonna do. Small businesses and shop owners really drive the average Joe in the U.S., and I’m proud to be a part of it.”

Read About Custom Knives:

Knife Fuller: What Does It Add To A Blade?

Mike Haskew
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Knife Fuller: What Does It Add To A Blade?

They’re role is more than making a knife look groovy.

At first, it’s an item of curiosity. The fuller, the symmetrical groove that runs along the partial or full length of a knife or sword blade, might function simply as an aesthetic touch. It could have some utilitarian purpose. Or maybe it’s a bit of both.

Makers of knives and swords have included the fuller with their work for centuries, and today it remains a focal point in the process. Its presence is often prominent but its purpose is at best somewhat obscure. Why, then, is it common among the work of accomplished makers?

“The primary purpose of the fuller is to lighten a blade without compromising strength,” explained award-winning custom knifemaker and swordsmith Vince Evans. “Many cultures incorporate a decorative aspect into the fullers on their blades. Italians are well known for segmented fullers. You also see segmented fullers on Chinese swords, as well as some German hunting swords.”

Evans took home the custom awards of Best of Show for his Italian Cinquedea and Best Sword for his Italian Schiavona—the former at last year’s Solvang Custom Knife Show and the latter at BLADE Show 2024. He also won Best Sword for his Roman spatha and Best Fixed Blade for another of his cinquedeas at BLADE Show 2022. All four feature multiple fullers. Vince sees the fuller as operational on more than one level, from practical to pretty.

Thomas Taylor’s kukri sports a 12-inch fullered blade of W2 tool steel with a compound bevel grind and heart-shaped Spanish notch. Handle: buckeye burl. Overall length: 17 inches. The sheath is cowhide and water buffalo. Taylor’s price for a similar knife and sheath: $550. (SharpByCoop knife image)
Thomas Taylor’s kukri sports a 12-inch fullered blade of W2 tool steel with a compound bevel grind and heart-shaped Spanish notch. Handle: buckeye burl. Overall length: 17 inches. The sheath is cowhide and water buffalo. Taylor’s price for a similar knife and sheath: $550. (SharpByCoop knife image)

“Even in the Bronze Age you see multiple fullers,” Evans continued. “Sometimes they are very narrow. Multiple fullers can give more rigidity to a blade but with reduced weight, and a wide blade lends itself to multiple fullers. Typically, fullers are on both sides of the blade, although not always. There are examples of 2nd-century Germanic swords that have fullers on only one side or have different numbers of fullers on each side. Their purpose may be partially aesthetic.”

Evans uses a fullering tool to press the groove into the hot steel when working with a larger blade. On smaller blades he usually grinds the fullers into the steel after the blade has been shaped and beveled. Other techniques involve the use of round or flat tools to scrape the groove in, depending on the blade style.

Much of Vince’s work is an homage to history, and the fuller finds its place there for sure.

“Since my work is primarily historical in nature, I use fullers where they were seen on originals,” he remarked. “A fuller may be used on any blade that you want to lighten without losing strength.”

Varied Methods Of Creating Fullers

Seth Lopez outfitted each side of the 9.38-inch recurve blade of his BLADE Show 2024 Best Fighter winner with a stylized fuller. The blade is a damascus of 1080 carbon and 15N20 nickel alloy steels and the grind is a combo convex/hollow clip. The handle is African blackwood with 416 stainless steel domed pins. Overall length: 14.5 inches. (SharpByCoop knife image)
Seth Lopez outfitted each side of the 9.38-inch recurve blade of his BLADE Show 2024 Best Fighter winner with a stylized fuller. The blade is a damascus of 1080 carbon and 15N20 nickel alloy steels and the grind is a combo convex/hollow clip. The handle is African blackwood with 416 stainless steel domed pins. Overall length: 14.5 inches. (SharpByCoop knife image)

Seth Lopez is an accomplished master of the fuller and took home the custom award for Best Fighter at BLADE Show 2024. His take on the fuller lies in function, helping the blade to perform as optimally as possible.

“In a sword, the fuller will provide rigidity through surface area while also taking out a lot of weight,” he remarked. “In smaller knives, I like the way they look, and they help take out some weight. Fullers can be on one or both sides of the blade. Many single fuller blades are ground only on one side, so the fuller on the opposing flat side relieves that area. Many culinary knives and sushi knives are made this way.”

According to Lopez, fullers can be achieved via several methods. Traditionally forged blades may have them scraped in, while they can be milled, ground or filed in as well. Seth’s method is dictated by the size and shape of the blade he intends to create. The application from a practical standpoint is seen easily in the sword or chef’s knife, while in smaller knives he says fullers add “some completeness and flow to the overall design.”

When custom maker Thomas Taylor includes a fuller, his methods are varied.

The 3.4-inch fullered blade of Eyal Landesman’s folding dagger is RWL-34 stainless steel with a hand-rubbed finish. The handle is zirconium with mosaic paua shell inlay. Closed length: 4.75 inches. (SharpByCoop image)
The 3.4-inch fullered blade of Eyal Landesman’s folding dagger is RWL-34 stainless steel with a hand-rubbed finish. The handle is zirconium with mosaic paua shell inlay. Closed length: 4.75 inches. (SharpByCoop image)

“There are dies available for a press, and a fuller can be pressed in or hammered in,” he related. “Most bladesmiths will grind the fuller in before grinding the bevels in. After the initial grinds are done, fullers and bevels, then the heat treating and tempering are done. Then the long, tedious process of hand sanding begins.”

Taylor agrees that strength and weight reduction are primary purposes for the fuller.

“I think when you get to smaller blades under five inches, that it’s really for looks at that point. Yes, it does take some weight off, but it’s very little and any added strength is not noticeable in use. However, a tapered fuller can really dress up a knife, and the shape of the blade can be very pleasing to the eye. I believe that fullers should be on both sides of the blade and of the same depth and length. This, in turn, gives an even balance and slice. In my opinion, if a knife has a fuller on one side of the blade it would cause more drag on one side versus the other and would cause an arc in the slice.”

When knifemaker Eyal Landesman uses the fuller, it expands the aesthetic appeal of his blades.

Robert Wayman goes the cleaver fuller route on the damascus go-mai/damascus nickel core/damascus clad blade of his Kitchen Chopper. The handle is crosscut carbon fiber, G-10, stainless steel, malachite, ancient brain coral and amboyna burl. Overall length: 14 inches. His price for a similar model: $1,850. (SharpByCoop image)
Robert Wayman goes the cleaver fuller route on the damascus go-mai/damascus nickel core/damascus clad blade of his Kitchen Chopper. The handle is crosscut carbon fiber, G-10, stainless steel, malachite, ancient brain coral and amboyna burl. Overall length: 14 inches. His price for a similar model: $1,850. (SharpByCoop image)

“My work is mainly making folding art knives,” he commented, “so my experience with fullers is always on the small scale. I mainly use them for aesthetic reasons as I love to mix traditional classic design with a modern touch.

“The fuller on a pocketknife has both utilitarian and aesthetic purposes,” Eyal continued. “From the practical standpoint, the fuller can help with weight reduction as it removes material from the blade without compromising strength. This can be a plus for making lighter-weight everyday-carry pocketknives and even enhances the knife’s rigidity under stress, like an I-beam. Aesthetically, my main reason for using them is that they add a distinct, sleek look to the blade, as well as for the historical appeal that I draw inspiration from.”

Landesman says that the single fuller is rather uncommon in blade construction, and when it is used the reasons are generally aesthetic or to facilitate a specialized design. Fullers on both sides help with balance, structural integrity, symmetry and reliable performance.

“Fullers are most appropriate for swords and larger knives, such as daggers where weight reduction and structural integrity are important to performance by making them easier to handle and therefore more maneuverable,” Eyal added. “While they can add aesthetic value, the functional benefits are mainly seen in blades used in combat or heavy-duty use. Fullers are less essential for smaller, precision-focused knives such as scalpels.”

There’s no machine work—including the tapered blade fuller—just all hand filing and sanding on the Hauteclere by Wolfgang Loerchner. Blade length and steel: 13 inches and 440C stainless. The handle is 440C, carved gold, black-lip mother-of-pearl and Bertie Rietveld damascus. Overall length: 19 inches. (SharpByCoop image)
There’s no machine work—including the tapered blade fuller—just all hand filing and sanding on the Hauteclere by Wolfgang Loerchner. Blade length and steel: 13 inches and 440C stainless. The handle is 440C, carved gold, black-lip mother-of-pearl and Bertie Rietveld damascus. Overall length: 19 inches. (SharpByCoop image)

His fuller process is straight forward.

“After I cut the blade profile, I then harden it,” he explained. “Once it has been through heat treatment, I then hard mill the fuller into the blade before grinding it.”

Blood Groove, I-Beam

Accompanying the positive elements of the fuller are a couple of interesting observations related to its function. The I-beam phenomenon as noted by Landesman is described by some as providing additional strength or rigidity, and by others as allowing flexibility while lightening the overall weight of the knife or sword. Its principle has long been utilized for steel beams in the construction industry.

“The I-beam effect does lighten the blade and can help in flexibility, but I don’t know that it will make the blade stronger,” Evans observed.

Ryan Breuer abbreviates the fuller on the clip-point/false-edged blade of 80CrV2 carbon steel for his recurve fighter. Guard and ferrule: blued damascus. Handle: ironwood. (SharpByCoop image)
Ryan Breuer abbreviates the fuller on the clip-point/false-edged blade of 80CrV2 carbon steel for his recurve fighter. Guard and ferrule: blued damascus. Handle: ironwood. (SharpByCoop image)

Added Landesman, “I agree that the main job of the fuller is to lighten the blade and increase its strength through the ‘I-beam’ principle used in construction. However, its main job is to look good.”

Blood groove is often associated with the fuller, and while there is plenty of speculation as to the origin of the term, practical evaluation doesn’t lend itself to validating that purpose.

“I think the term came with the use of the fuller in bayonets,” Evans said. “I don’t believe this is an accurate name for the fuller or its purpose.”

Lopez commented, “With many aspects of weapon history there is a lot of speculation on why certain features existed on different blades. Many of these speculations are made up, and it’s my understanding that there is no ‘blood groove’ function to a fuller on any blade.”

Billy Salyers covered almost the complete blade length with the fuller of his Best Sword winner from the 2024 Texas Select Custom Cutlery Event. The blade is a Rohans Mane damascus of 1095 carbon and 15N20 nickel alloy steels and the handle is African blackwood. Overall length: 35 inches. Billy’s price for a similar sword and scabbard: $7,500. (SharpByCoop image)
Billy Salyers covered almost the complete blade length with the fuller of his Best Sword winner from the 2024 Texas Select Custom Cutlery Event. The blade is a Rohans Mane damascus of 1095 carbon and 15N20 nickel alloy steels and the handle is African blackwood. Overall length: 35 inches. Billy’s price for a similar sword and scabbard: $7,500. (SharpByCoop image)

Perhaps in the hunting application there is some remnant of actual usefulness in the role.

“Some call the fuller a ‘blood groove,’” Taylor said, “thinking that it gives the blood a way out of the entry point of the carcass and makes it easier to remove the blade. This may help in these areas some but it is not the intended reason for the fuller.”

The consensus is summed up well by Landesman, who related, “The ‘blood groove’ term stems from the theory that it was designed to allow blood to flow out of a wound, supposedly preventing a vacuum from forming and thus making it easier to withdraw the blade in battle. In my opinion this is probably not an accurate representation of the fuller’s purpose, which has much more to do with its utilitarian and structural benefits, unconnected to blood or wound dynamics.”

There it is. Practical, pretty and adding a touch of class, the fuller brings along a bit of historical conjecture, completing a package that delights in many ways.

More On Knife Making:

Japanese Blades: Mystique Of The East

Mike Haskew
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Japanese Blades: Mystique Of The East

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

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

Denis Tyrell

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

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

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

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

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

Drew Lininger

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

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

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

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

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

Jim Perkins

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

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

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

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

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

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

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

Kieren McNeilly

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

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

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

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

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

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

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

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

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Choosing The Right Knifemaker

Mike Haskew
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Choosing The Right Knifemaker

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

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

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

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

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

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

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

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

Personal Interaction With Knifemakers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Questions To Ask

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

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

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

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

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

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

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

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

Other Tells Of Good Knifemakers

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

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

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Fantastic Voyage Of Gil Hibben and Paul Ehlers Collaborations

Mike Haskew
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Fantastic Voyage Of Gil Hibben and Paul Ehlers Collaborations

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

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

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

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

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

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

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

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

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

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

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

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

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

Unseen Realms

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

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

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

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

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

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

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

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

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

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

Showstoppers

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

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

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

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

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

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Knife Maintenance: The Pros Share Their Tips

Mike Haskew
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Knife Maintenance: The Pros Share Their Tips

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

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

Fighting Corrosion

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

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

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

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

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

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

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

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

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

Screw And Bolts

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

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

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

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

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

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

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

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

Edge Maintenance

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

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

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

Harsey also likes the Norton fine India sharpening stone.

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

Sheath Maintenance

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

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

Dozier has a simple approach to sheath maintenance.

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

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

Dean likes to protect his sheaths as well.

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

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

Climate Control

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

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

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

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

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

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

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

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

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

More On Maintenance:

Knife Buying Don’ts: How To Avoid Cutting Pitfalls

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

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

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

Don’t Deal With Questionable Sellers

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

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

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

Don’t Buy Knives On Pictures Alone

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

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

Don’t Buy Knives On Steel Only

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

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

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

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

Don’t Buy Knives On The Handle Comfort

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

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

Don’t Adopt A Herd Mentality

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

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

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

Don’t Overlook Makers By Name

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

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

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

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

Don’t Overrate The Investment Factor

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

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

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

Don’t Exceed Your Knife Buying Budget

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

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

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

Don’t Discount Second Opinions

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

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

Don’t Buy Knives Under Duress

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

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

Don’t Always Discount Deposits

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

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

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

Stay Informed

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

More On Custom Knives:

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