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Mike Haskew

Dads And Daughters: Passing The Art Of Knifemaking Down

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The Older Generation Is Teaching The Next Crop Of Makers The Ropes Of How To Turn Steel Into Knives And Knives Into Memories.

Though it isn’t rare for kids to follow in the footsteps of their parents when it comes to choosing a career, the path to becoming a well-known custom knifemaker may just involve a bit more dedication than most other vocations.

For American Bladesmith Society (ABS) master smith Josh Fisher and Wolfgang Loerchner, the adventure has been quite rewarding as their respective daughters, Karis and Elizabeth, have become quite accomplished in their own right. 

Josh And Karis Fisher

The 2021 Texarkana Hammer-In was a memorable one for the Fishers, with Karis earning her ABS journeyman smith (JS) stamp, Josh his ABS master smith (MS) stamp, and each taking home the annual award for the best knife submitted by a JS and MS.

“When I was younger, I would always sit out in the shop watching my dad make knives,” Karis remembered. “Over time, I slowly started messing around sanding on pieces of metal, thinking I was making a knife. This eventually led to my interest. My first knife was a small full-tang hunter with a pink handle that my dad helped me make.”

Josh, no doubt, was ready and willing to help his daughter hone her skills when the time came. “Karis has always been pretty good at grinding blades,” he smiled, “but she struggled with guard fit up for a while and finally got that figured out.”

Of course, there were challenges and an obstacle or two along the way as Karis gained knowledge in the custom knifemaking world. She spent time at the forge, hammering away in preparation for ABS recognition, but that got placed on hold for a while.

“Yes. Definitely, I had a few setbacks,” she reflected. “I first attempted the ABS journeyman smith test in 2019 and failed. I then tried to retest the next year, but due to [the pandemic] it was canceled. In 2021, at the Texarkana Hammer-In, I finally got to retest and passed. Looking back, I think it worked out for the best because I was able to come back and win the Keeslar Award.”

The Joe Keesler Award is an annual honor for the best knife submitted by a successful journeyman smith applicant. If nothing else, the award validated the hours that both Josh and Karis had dedicated to her custom knife and bladesmith upbringing. And making the year extra special, Josh received his ABS master smith designation at the Texarkana Hammer-In, and later the B.R. Hughes Award for the best knife submitted by a successful master smith applicant. It, too, is an annual honor.

Josh added that sheer space and equipment limitations have impacted the progress of the Fishers’ work from time to time.

 “One of the main obstacles is working around each other in the shop,” he said. “We currently only have one grinder, so we sometimes have to wait for the other to finish before getting to work. Another grinder is definitely one of the next tools we are going to have to get.”

Bog oak comprises the handle of a Karis Fisher fixed blade with a recurve damascus blade.

Despite a little inconvenience, Karis has come a long way in a relatively short period of time. Family and friends are impressed. 

“All my relatives have always thought that it was cool,” that I made knives, she observed, “but my friends have always thought it was a little strange, especially the fact that my Instagram account has no pictures of me, just my knives.”

Her mom, Kim, is a big fan. “My wife loves to go to knife shows,” Josh related, “so she has always been supportive and happy about Karis and her work in knives.”

While Karis isn’t sure of an exact moment when she knew she wanted to make knives, the idea was never far from her mind. “I think I’ve always kind of known that it was something that I wanted to do,” she noted. “I enjoy making all types of knives, but small hunters are probably my favorite right now. I recently made my first slip joint, and I think they could easily become my new favorite.

“Probably my favorite part of knifemaking is seeing the finished product. But, if I had to choose an actual step, it would be all of the small embellishments and final finishing of the knives. If I had to pick a least favorite part, it would be hand sanding the blades!”

Wolfgang And Elizabeth Loerchner

Wolfgang Loerchner (left) and Elizabeth (right) had to share space in Wolfe’s crowded shop in the early days—at one point including long hours seven days a week for about a year—but it has all paid off. In the middle is Wolfe’s granddaughter by his eldest son.

The year 1982 was momentous for Wolfgang Loerchner. He made his first knife, and topping that achievement, his daughter, Elizabeth, was born. 

“It almost seems as if this path was destined for her,” he smiled. “Knives were a part of her life from the very beginning in various ways—observing the stages of the creation of a knife, the many shows, photos, and articles of the knife shows as seen in various magazines, observing friends visiting, and the many conversations that surrounded all aspects of knives. In some way, shape, or form, knives have always been a part of Elizabeth’s life.”

Elizabeth made an early step into knifemaking and then regrouped. Her second foray has been hugely successful.

“Having always had a strong interest in the arts, knifemaking was something I considered at one point when trying to decide my future,” she commented. “I made one attempt at knifemaking in 2003-2004. However, it quickly became apparent that the timing was not correct. It was not until several years later, after visiting the Milano Show in 2009, that I became truly inspired.”

Elizabeth and Wolfgang were sitting together on their return trip from the Milano Show, and she presented him with the idea of teaching her again. Of course, he was more than happy to get started, and Elizabeth began working on a knife design immediately. In January 2010, she sat down with her father once more—this time in his shop—and custom knifemaking quickly became a huge part of her life.

“I’ve had a couple of personal situations that did set me back,” she related, “but they have not kept me down. All around, there has been full support of my decision. Everyone has been happy to see me working in the arts and also to be carrying on what my father has been doing.”

Elizabeth’s mother, Dianne, shared a positive perspective. “I was glad for her, that she was able to use her artistic abilities to create knives. During her high school education, Elizabeth was always happiest when she was in the midst of creating an art project. In the few years directly after high school, she was thinking about steel and what she could do artistically with steel, which seemed a logical first step to me. 

“Elizabeth has an artistic flair that is unique to her, different from her father’s, and allows her to create pieces that carry more of a whimsical note to her knives. This is reflective of her deep creative ability. When she asked her father to teach her, I was a little hesitant since she had been living away from home for several years. While there were several tense moments, overall it was a good experience for both of them.”

Elizabeth’s knives have been recognized by aficionados worldwide at such exclusive venues as the Arts In Metal Show in Stresa, Italy, including this piece from the 2014 event. In fact, both she and her father have been regular exhibitors at the elite Italian show. (Francesco Pachi image)

The commitment of time and energy made for a few challenges in the learning process, but the entire experience has been worth the investment for Wolfgang and Elizabeth. Each has a distinctive design and artistic expression, coexisting, learning, and producing outstanding objects of art.

“One of the greatest obstacles we probably had to face was learning to work so closely side by side for so many long hours,” Wolfgang recalled. “There were other small obstacles. Working together in this way involved learning a whole new form of communication. We would often be saying the same thing but speaking it in a different language. Many mistakes were made as a result, but in due time we found our way to overcome this obstacle and work through things more smoothly and efficiently.”

Elizabeth recognizes the fact that she has learned to accept constructive criticism and teaching moments from her father. Wolfgang, on the other hand, points to a new method of communication developed as they worked together. Still, Elizabeth is adjusting.

“The most difficult part has been living in the path or shadow of my father,” she noted, “with the sense of needing to live up to the expectations of others. Creating my designs, it only seems to come naturally that my style is so similar to his. There are many reasons for this, and I constantly strive to find that fingerprint of my own.”

Elizabeth has always been an accomplished artist, drawing and painting with passion. Holding a file seems to come almost as naturally as working with a paintbrush or pencil. So, as her hand-eye coordination came together almost effortlessly, working in steel and making lines flow in knives was virtually second nature.

Fixed blades and integrals are the favorite types of knives for Elizabeth, and she appreciates their aesthetic qualities. 

“There is something about the power and strength of them,” she reasoned, “and what seems to be a limitless canvas. There is something pleasurable about working with folders and how the knife changes, whether open or closed. When working with daggers, fixed blades, and integrals, the limitations of working around the mechanical parts have been removed, and I find this gives more freedom to my designs.

“The most pleasurable part of knifemaking,” she added, “is the filework. Watching the steel slowly come to life, seeing the design come out of it as if it always lived there, is highly rewarding. The final finishing of a knife can be the most frustrating part. This is when any possible flaws start coming to light. Since I am my own worst critic, it can turn into a never-ending process of doing multiple things over and over again.”

Nonetheless, the Loerchners know they were destined to work together, one to learn from the other. In turn, each helps the other reach new heights of artistic expression.

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Shop Dump: Tools The Pros Use

Renowned Makers Across The World Talk About The Tools They Use To Craft Their Metal Creations.

A good craftsman needs good tools. Without a well-stocked shop, knifemakers are held back from creating to the best of their abilities. This trio of makers from around the globe talk about what they use and how it affects their knifemaking.

Jim Crowell

Look close and you can see the faint hamon on this tactical model by Jim Crowell

American Bladesmith Society master smith Jim Crowell has been making knives for over 40 years. A member of the ABS Hall of Fame, he is known for his masterfully hand-forged blades. His Mountain View, Arkansas, shop is well stocked, and he leads off with the Wilmont TAG and Beaumont KMG belt grinders.

“Wow!” he said of the Wilmont. “You talk about smooth running and great and easy tracking, with a swing-out work rest it doesn’t get any better. I really like the work rest, as you just swing it out and lock it—no wrenches or Allen wrenches, adding or removing parts. Worth every penny and then some.”

He continued with praise for the Beaumont KMG. 

“I have used many of these in different schools and have had three myself, to include the one I am using now. These are great grinders and the broad range of excellent attachments makes them top contenders in my book. Both have 1.5-inch tool arms, which means you can switch tooling between the two—a good idea, I think. The small wheel attachments for both are great, and the Beaumont rotary platen is something special.”

Broaches and file guides by machinist/ABS master smith John Perry are next.

“When John designs and makes a tool for knifemaking, there is no compromise, nor anything you don’t need,” Crowell commented. “He knows what the tool needs to do and makes sure it performs in an exemplary manner. There is no reason one’s tools should not be pleasing to the eye. Just hold the gingerbread, please!”

Jim credits the broaches for definitively solving the age-old problem of fitting a square peg—or really a rectangular hole—into a round hole. He calls them indispensable in the shop and they are available in numerous widths. The filing guide eliminates concerns with getting the guard to fit flush to the shoulders of the ricasso.

“Oh, the stories I’ve heard,” Jim smiled. “John’s shoulder fixtures are precise and have several other uses besides filing the shoulder on the tang, but that’s how I use mine the most.”

Crowell tipped his hand a bit in identifying the “Widget” as one of his favorite tools. “This is a handy little thing I added to my slack belt assembly on the Beaumont KNG grinder,” he remarked. “It fits in such a manner as I can run the belt underneath it and use the slack belt feature. You can also run the belt over the top and have a radius that, if properly used, will make minor adjustments to the plunge lines, as well as the choil area under the ricasso. An added benefit is that the sanding lines are lateral now and alleviate trying to sand longitudinally in the radius of the plunge line that was created vertically. Love it!”

The maker summed up his preferences for each of his top tools by identifying their best characteristic. “Realistic design by folks who are intimate with making knives,” he reasoned. “My tools and equipment are not fashion statements. They are not necessarily ‘pretty.’ They were made to do a job and do that job well. There is a subtle beauty in that.”

Jens Anso

]Jens Anso is probably best known for his folders, including this framelock flipper.

Danish custom knifemaker Jens Anso zeroes in on a combination of purchased and self-made shop tools that give him the edge in a full day’s work. He describes his shop as sometimes cluttered, though that’s often a hallmark of a busy and productive craftsman.

The first tool he cites is his horizontal grinder he built about 20 years ago. 

“At that point in time I was used to building grinders and put this one together from parts I had lying around, including a two-speed motor with about 2.2 horsepower, so it will not slow down regardless of what I throw at it. This grinder was fundamental in creating the career I have,” he noted. “Even though I now have new, fancy machines, this one just performs really well. I finished more than a thousand folders using this grinder, especially the frames. It uses a Hardcore small wheel attachment and is super fast to change wheels and belts. It has a small platen that goes on and off really fast, too. This is what all my handles with ANSO texture were ground on!”

The purchased tool side of Anso’s shop is occupied by, among other implements, a Hardcore Maximizer.

“It’s kind of the industrial version of the grinder I described above, though this can do a lot more,” he remarked. “Lots of wheels and platens. It’s slower to change belts and wheels on, but once done will perform! Between this and my other two conventional Hardcore grinders, I am pretty much set. I used to build all my grinders because good commercial grinders for knifemaking are not available in Denmark, and it used to be difficult to import them from the U.S. But I have imported two of these Maximizers and two conventional grinders since then because I prefer making knives rather than making machines.”

A lengthy search also produced the ideal drill presses for Anso’s knifemaking. Though it took a while, they fill the bill to his exacting standards. 

“I had been on the hunt for a great drill press for ages and finally found these vintage Danish-made CLOU machines,” he recalled. “They are heavy duty but precise, have excellent depth stop and two-speed motors, as well as pulleys for changing speeds. This is a fantastic machine for knifemaking. I have had as many as eight of these at the same time but am down to three in active use. With CNC making its entrance into my shop, I still need a few good drill presses but I don’t need eight.”

Lucas Burnley

Asian-style folders with crisply ground blades are a Lucas Burnley specialty. (Eric Eggly/PointSeven knife image)

Lucas Burnley takes a philosophical approach to the development and use of functional implements.

“Like any skill, time is one of the most valuable assets you have,” he observed. “However, buying or building the right tools and equipment will go a long way in speeding your improvement. My tool purchases usually come down to application or interest. The tools I list are considered necessary at a base level and would be able to work well in almost any shop regardless of what type of knife is being made.”

He points to his burly Bader B3 2×72 variable-speed belt grinder as a key player in the day-to-day function of his shop. 

“When someone asks what piece of machinery they should buy first, this is usually my answer. For me, the grinder is the single most important tool in a basic knifemaking shop. With this machine, you can profile blanks, grind blades, shape handles, and about 100 other small steps that make it worth its weight in gold. Buying a quality machine is going to pay off more than you can imagine in the long run.”

Lucas recently added a TW-90 grinder from Wuertz Machine Works and advises that if a maker’s budget allows for it, the TW-90 is a fantastic addition that allows even more complementary functionality to the 2×72 platform. Also, he noted, “If you’re on a limited budget the KMG 1 from Beaumont Machine is a great option. You can skip the variable-speed drive and use the step pulleys and add the VFD [variable frequency drive] down the road.”

A 15-inch belt-top drill press is another valuable component of Burnley’s shop. “One thing the belt grinder can’t do is drill holes,” he laughed. “While you can use a hand drill, a bench-top drill gives you a lot of capacity for short money. Adding a keyless chuck will increase your speed with tool changes. I’ve had a number of these machines over the years, and there are a number of good options on the market. I currently have a model from WEN but will be replacing it with a comparable model from Jet Tools shortly. Quality here matters but much less so than with the grinder. These are not meant to be precision machines, but for 90 percent of the tasks you give them they will be just fine. When I first started building folders, I didn’t have a milling machine and was able to use my drill press to cut the lock relief, lock slot and face on a number of knives with a little creative problem solving.”

A metal cutting band saw and CAD (computer aided design) capability round out the top pieces of equipment for Lucas. The band saw delivers greater speed and efficiency. He has a 14-inch Delta wood/metal band saw made in 1951 that his dad found at a yard sale 17 years ago. 

“The only reason I have it in third place is that your belt grinder will allow you to profile both blades and handle parts if you start with a narrow bar stock,” he related. “With a band saw you will be able to buy larger sheets of material, nest your parts more efficiently, and ultimately use less abrasives, saving time and money through every step.”

Taking time to learn CAD can be a game changer. “One of the best pieces of advice I could give any maker is to learn CAD,” Lucas noted. “Even if you don’t have the money to buy tools or a shop to work in, if you have a computer you can start building a skill set that will help you for years to come. Fusion360 offers free software for hobbyists, and there is an endless number of tutorials available online.”

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Variations On A Theme

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Knife Collecting Is Different For Everyone. Some Folks Like To Stick With A Theme And Collect Everything They Can.

It’s all about perspective. 

Everyone agrees that knife collecting is one of the greatest enterprises around. However, there are variations on a theme—if the collection even has one. Probably the biggest variation on the common thread of knife collecting is the existence or absence of a theme, a focus on the collection that revolves around a specific aspect such as an individual custom knifemaker, group of makers, handle material, style of knife, period of time—well, you get the idea.

Theme collecting has its followers and its detractors, and gaining insight into these points of view enriches the collecting experience. First, however, there is a single universally accepted piece of advice regarding the knife collecting adventure: collect the knives that you admire, enjoy, and make you feel good!

“When it comes to collecting, and I mean collecting anything, I think the first rule is to collect what you like,” related long-time knife enthusiast and collector Chris Schluter. “At the end of the day, whatever it is you’ve been collecting might not be worth anything except to you. The collection may go down in value, be obsolete, your kids may not care about it, etc., etc. Collect what you like and can afford. Having fun while doing it is a plus, too!”

Collector J.T. Oldham agrees. “My short answer is to collect what you like,” he said. “I’ve been to enough knife shows and have spoken with many collectors, purveyors, and dealers over the years, and that has been a prevailing sentiment. Collect what you like, with a focus on an element that is interesting or unique.”

Embracing Theme Collecting

If Chris Schluter’s collection of Bob Terzuola tactical folders isn’t comprehensive, it’s the next best thing.

Beyond the “like,” there are those collectors who find a theme and enjoy it for decades, buying, selling, trading, and thoroughly embracing a style or feature. Then it’s always possible to change course, switch ideas around, and find another path.

“I started out collecting hunting knives,” recalled collector Chris Nolen. “This was due to my love of hunting. Later, I learned at gun shows as well as from informative magazines like BLADE® that there were many styles, as well as usages of the knife. I was drawn to bowie knives. I had been introduced to a professional maker, Jerry Berry of Natchitoches, Louisiana, and he was making my hunters because I had switched from commercially made to custom. I drew out a large bowie and sent the plan to Jerry. He built the knife and my theme changed from hunters to bowies. So, I must say, I recommend theme collecting.”

Nolen’s experience is compelling because his investment in that course-changing bowie began with the basics: a drawing. Therefore, the full experience of owning the knife involved an added depth. Nonetheless, other collectors are drawn to aspects of theme collecting that center on different attributes.

“While I do not necessarily collect thematically, upon reflection I realized that my wife, Marlene, does,” advised longtime collector Larry Marton. “Just to clarify the state of affairs in our home with regard to knife collecting, we have two collections—‘ours’ and ‘hers.’ Her collection consists of small knives, predominantly folders, that are about 3.5 inches open. This collection has been accumulated over the past 35-plus years. The knives were crafted by some of the finest knifemakers of our time, both living and unfortunately passed. Marlene convinced each one of them to make her a unique knife, even though most had never made a knife that size before and most would never make one of that size again.”

Oldham takes a long look at trends and depends on the assessments of those close to the industry. “Typically, I have always learned of what is trending in the knife community by reading BLADE Magazine. I’m certain most others do as well. Joe Kertzman has been instrumental in keeping collectors tuned into knife trends for years by editing the annual KNIVES publication. I mostly rely on my network of trusted purveyors. They attend most, if not all, knife shows, do the legwork, speak with makers, and have substantially greater buying power than I do. They tend to focus on particular makers, but due to the large volume of knives they come in contact with, might be able to identify a theme before it exists.”

While Oldham doesn’t consider himself positioned to recommend a theme, he readily admits that he enjoys damascus steel and knives that incorporate embellishments in the shapes/look of human skulls. 

His acknowledgment of the variety of theme options presents the general collector population’s point of view well. There is no right or wrong answer when it comes to collecting with or without a theme, but an eye for certain aspects or commonalities among knives can enhance the effort to grow a collection.

Meeting Other Knife Collectors

This reproduction of a Daniel Searles bowie by Mark Banfield is representative of the period bowie repros in Chris Nolen’s collection. (image courtesy of Chris Nolen)

Among the best features of theme collecting is the opportunity to build relationships as collectors and custom knifemakers interact with one another. 

“Within custom knives, I’ve always gravitated toward tactical folders, so I would say that’s my overall theme,” Schluter explained. “Within that theme, most are from Bob Terzuola, then there are a lot of custom Emersons and at least a dozen knives each from Kirby Lambert and Peter Rassenti, and then numerous knives from Sal Manaro, Mark Roe, Shane Sibert, Chad Nell, and others.

“In any business, if a producer and customer have enough interaction they often become friends, and that may be even more so in the knife hobby. It’s often said that you buy the maker not the knife, and this is absolutely true if you really know the maker. Having the theme I do collecting-wise has certainly produced some lifelong friendships.”

For Larry and Marlene, that premise has held true. “Not only is it exciting to craft a special collection,” Larry commented, “but it is a way to get to know the knifemakers very well and to share the ups and downs of technical and artistic challenges with them. Firm friendships have been molded by this endeavor. Accumulating the collection requires patience, as every knife is made to order. Collecting unique knives that are not today’s momentary trend as an investment is risky, although with patience it can turn into reality.”

According to Nolen, the theme approach applies to whatever the collector’s motivation may be: pure enjoyment, investment, or both. Finding the right balance is a part of the journey, and building a collection that leads to personal satisfaction and lasting value is a powerful combination. 

“There are some collectors that look at knife collecting as an investment,” he said, “and I would still recommend choosing a theme and devoting your collection to that theme. Just remember to get the best possible price. One day you may want to sell, and what you thought may have been a good deal may not have been so swell.”

Stick With The Knives You Like

Another example of one of Oldham’s knives with a skull theme is this Brian Tighe folder. “This was a very popular knife and was published in one of Dr. David Darom’s books,” Oldham wrote.

At the same time, beware of the trend that may glow white-hot and then fade quickly. Experience and a good sense of direction help prevent a misstep.

Concentrating on a specific theme will help insulate a collection from a haphazard mishmash of “stuff.”  However, a collector may choose to purchase on more of a freestyle basis.

“If one were to follow hot themes exclusively,” Oldham said, “then one’s collection would be all over the place. I feel that it’s best to acknowledge the arrival of the hot themes, and then follow them to see if they become trends. A good example of this is the tactical theme or style. We can all safely attribute that style to Bob Terzuola and Ernest Emerson. As soon as that was considered a thing, makers like Brian Tighe, [the late] Darrell Ralph, and Allen Elishewitz were all over it, and at that point, I enthusiastically embraced it and they have become a major focus of my collection. They have all taken that theme to the next level, again and again, to the point that they’re now what I consider ‘rock star makers’ and have created their own genre, which I call ‘tacti-cool.’”

“I believe collecting bowies is very popular right now due to the Forged in Fire series on the History Channel,” Nolen observed. “This is not always the best path to take due to costs. A custom forged bowie can be very expensive. Collectors must first make sure they can afford the elected theme they choose. Small custom hunters and even fighters will most likely be less expensive. I made sure that I could cover the expense, but I suggest that any theme collector set a ceiling on the funds devoted to their collection.”

While expense is always a consideration and at times a downright barrier to entry in collecting higher-end or theme-related knives, the collectors are forever in charge. They may scale their collection toward the right value range and gradually, perhaps, increase funds devoted to the theme. A word of caution does address a fear factor—the fear of missing out.

“One thing I will say is that if you focus too much on one maker or type of knife you may miss out on others,” Schluter cautioned. “However, if you keep an open mind, go to shows, are active on social media, read BLADE, etc., you will still be exposed to plenty of other work. That said, the big plus, at least for me, of having a significant focus on a few particular makers is that you can really get to know their work and can also get to know them personally.”

Knife collectors, whether or not they are theme enthusiasts, are continually looking for enjoyment and satisfaction. Choosing the collecting path is part of the fun, so remembering the basics of trust, quality craftsmanship, and collecting what you like will always make the love of custom knives worthwhile.

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Feeling Good: 4 New Handle Materials

As Knife Technology Evolves, So Do Handle Materials. Whether Natural Or Synthetic, These Materials Are Helping Knife Aficionados Get A Grip.

From time to time, a new handle material—either natural or synthetic—surfaces. These days, a quartet of emerging options is making an impact, and several custom knifemakers have produced some excellent results with them.

Fat Carbon

“I think the popularity of fat carbon stems from the striking looks of the bright colors contrasting with carbon fiber,” noted knifemaker K.C. Gray. He uses Lava fat carbon fiber for the handle of his Queen Anne’s Revenge dress flipper folder. Closed length: 5.5 inches.
“I think the popularity of fat carbon stems from the striking looks of the bright colors contrasting with carbon fiber,” noted knifemaker K.C. Gray. He uses Lava fat carbon fiber for the handle of his Queen Anne’s Revenge dress flipper folder. Closed length: 5.5 inches.

Those who have been around knives any time at all have heard the term carbon, but it’s usually associated with blade steel or well-known carbon fiber handle materials. In this case, however, carbon fiber has put on a little heft! The material known as fat carbon has found its way onto knife handles, and K.C. Gray is putting it to work.

“Fat carbon is a synthetic carbon fiber composite material with alternating layers of carbon fiber and a color layer,” he explained. “When ground or machined the contours reveal the different layers. It comes in a wide variety of colors and patterns: blues, purples, reds, oranges, and greens. I keep quite a bit of it on hand. It’s very popular with most of my customers, and I’m also quite fond of the knives I make for general sale.”

Gray usually brings his fat carbon in directly from a favorite supply house, and the demand for the material is brisk. 

“I think the popularity of fat carbon stems from the striking looks of the bright colors contrasting with carbon fiber. It’s also very durable and quite strong, which doesn’t hurt either. Fat carbon is remarkably easy to work with. It has wonderful stability and as such, it cuts, grinds, machines, and polishes easily. It’s wise to employ a respirator when grinding or machining it. Carbon fiber is a health hazard if inhaled.”

K.C. says the introduction of fat carbon doesn’t pump up the cost of a knife, and the results make a foray into the fat worthwhile. 

“The material is surprisingly inexpensive compared to a lot of other materials that have similar visual impact,” he related. “Combined with its ease of working, it doesn’t add much to the overall cost. I think it can be used in a wide variety of styles, from tactical folders to kitchen knives. Fat carbon has a color and pattern for just about anything.”

Westinghouse Micarta

As Chris Sharp noted, Westinghouse paper Micarta is an antique material. It can be found in many colors—here in white on Sharp’s single-blade trapper.
As Chris Sharp noted, Westinghouse paper Micarta is an antique material. It can be found in many colors—here in white on Sharp’s single-blade trapper.

Gray also has produced knives with another synthetic handle material, antique Westinghouse paper Micarta®, as has Chris Sharp.

“A lot of this material comes from the electrical industry, old electrical boxes and transformers,” Sharp observed. “It’s a mix of materials. It was normally made from cotton, cork, fiberglass, and linen fabric with some sort of resin holding it together.”

Gray says antique Westinghouse paper Micarta is an old material. “When most people say ‘Westinghouse,’ they are referring to the vintage ivory paper Micarta. Through aging, it has developed a yellowish tone on the outside. Once contoured, it reveals the contrast between the creamy white interior and more yellow outer layer. There are, however, a great many other Westinghouse Micartas—brown, black, blue, red, and rag can be found.”

Sharp finds his Westinghouse paper Micarta readily available at knife shows and from suppliers, but he is always on the lookout because it can be found in some unusual places. The trick is to know where and what to look for.

“It is an antique material” Chris reiterated. “It was designed by George Westinghouse around 1910 to be used as an electrical insulator. It can be found in a lot of colors, but the old stuff was dependent on who made it and what material was available at the time. At the moment, what I’m getting from the local electrical company is a transparent green and brown. I always have some on hand, but I’m always trying to pick some up at every knife show. Also, there’s always somebody dropping some variation of this material off at my shop.”

The Westinghouse paper Micarta fills the bill on toughness, durability, and ease of working. “It’s pretty easy to work with and can be used on any knife design,” Sharp concluded. “I love working with it. The older stuff is in short supply, which can cause the price of the knife to go up—and people sometimes take advantage which, in turn, causes ridiculous pricing.”

TeroTuf

Matt Gregory sometimes uses TeroTuf in the core of both the knife handle and the sheath, overlaying carbon fiber cloth and then applying multiple layers of resin before smoothing and polishing. An example is with his CFST Battle Tanto in CPM 3V carbon blade steel. Overall length: 14.5 inches.
Matt Gregory sometimes uses TeroTuf in the core of both the knife handle and the sheath, overlaying carbon fiber cloth and then applying multiple layers of resin before smoothing and polishing. An example is with his CFST Battle Tanto in CPM 3V carbon blade steel. Overall length: 14.5 inches.

Another synthetic handle material gaining traction is TeroTuf, a composite of polyester resin and fabric. It is a relative of canvas Micarta but may hold some better characteristics. It has no phenolics and, compared to G-10, contains no glass fibers. What’s more, some users may find TeroTuf is more shock absorbent than the others.

“I use TeroTuf because it’s light, tough, waterproof, and easy to cut and shape,” custom maker Matt Gregory commented. “For the most part, I make a core out of it for stick-tang knives and sleeve the core with carbon fiber or similar material. I’m what you would call a hobbyist maker, I guess, although I’m awfully serious about how I build things. I’ve been making knives for 17 years but only make a handful per year.

“I love TeroTuf because it’s really easy to work with and machine, but it’s tough as nails and impervious to darn near anything you throw at it. Because it’s relatively lightweight, it makes a great core material. Much of what I make is neo-Japanese/American-styled stuff, and TeroTuf makes a fantastic tsuka, or handle core. I prefer it to wood. Many of my friends and fellow knifemakers have used it to great effect and have been influential in my explorations of the material, including Dan Keffeler, Ben Tendick, Nathan Carothers, and James Helm, to name a few.”

Matt sometimes uses TeroTuf in the core of both the knife handle and the sheath, overlaying carbon fiber cloth and then applying multiple layers of resin before smoothing and polishing.

Ringed Gidgee

From a shop standpoint, ringed gidgee is similar to desert ironwood but probably a bit less gummy. James Fleming uses it for the handle of his Frontier Gentleman’s Hunter. The 5-inch blade is Takefu Shiro2 core san-mai bar stock with multiple 22-layer laminations of Suminagashi Takefu steel.
From a shop standpoint, ringed gidgee is similar to desert ironwood but probably a bit less gummy. James Fleming uses it for the handle of his Frontier Gentleman’s Hunter. The 5-inch blade is Takefu Shiro2 core san-mai bar stock with multiple 22-layer laminations of Suminagashi Takefu steel.

On the natural side, ringed gidgee, a product of Australia, is making the rounds. James Fleming imports his ringed gidgee from @thetimberjoint on Instagram. 

“It’s a natural hardwood in the acacia family of trees,” he said, “the same as koa. Ringed gidgee is a chatoyant brown and caramel color, and it can have some blond sapwood as well, much like desert ironwood.”

Keeping plenty of ringed gidgee in stock, Fleming considers it one of his go-to handle materials. It is user-friendly in any knife design. 

“But it’s still wood, so I wouldn’t suggest it being used around salt water on a regular basis,” he advised. “It makes a great handle for outdoor knives, chef’s knives, hunting knives, and even folders.

“I think its popularity comes from the fact that it has everything a knifemaker looks for in a handle material,” James continued. “It has beautiful color that has a ton of depth because of the chatoyant nature of the deep curls. It’s rated as the third hardest wood in the world, which makes it extremely durable. Once the wood has properly dried, it is ready to be used, and there is no need for stabilizing due to its being a very dense hardwood.”

From a shop standpoint, ringed gidgee is similar to desert ironwood but probably a bit less gummy. According to Fleming, it cuts and drills easily but can be a bit of a challenge on a belt grinder. 

“I suggest having a belt grinder with a VFD [variable frequency drive] to slow it down, and using a fresh belt,” he observed. “It polishes up extremely well during hand sanding and needs nothing more than a bit of beeswax and buff for the finish.”

From a cost standpoint, James acknowledges that ringed gidgee is classified as an exotic material, and that alone causes the price of a knife with it for the handle to escalate. However, it doesn’t approach the expense associated with the highest end of the exotic spectrum, such as mammoth ivory.

For a bit of an uncommon look and a potential conversation starter, these handle materials make the most of the opportunity. Chances are more will be seen of these up-and-comers.

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Best Budget EDC Blades: Excellent Economical Options

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The White Whale For Many A Knife Owner Is A High-Quality EDC At An Affordable Price. This Quartet Of Knives Are Great Pieces At Great Prices.

An everyday carry knife means convenience. The knife is ready when you are, effortlessly moving from pocket to hand and easily deployed. Innovation is a prime mover in the EDC world, and the latest in the more affordable factory offerings of the workingman’s edged tool provide the necessary toughness, accessibility, and good looks—all for around $50 or less.

KA-BAR Becker BK40

At .138 inch at its thickest, the AUS 8A stainless steel blade of the BK40 is middle-of-the-road thickness for a KA-BAR knife, and the intent is to allow for flexibility to perform a variety of routine tasks. The handle is based on the Becker fixed-blade designs, and the handy pocket clip provides a combination of strength and limited weight.

At KA-BAR, the Becker BK40—the first-ever folder in the KA-BAR/Becker Knife & Tool line—was put through its paces before reaching the shelves of the nearest hardware or cutlery store. Thoroughly once-overed by designer Ethan Becker, the linerlock folder stands up to the challenges of EDC in spades. 

“The BK40 was tested by Ethan Becker in Montana* during every step of its creation,” related Joe Bradley, KA-BAR sales and marketing manager. “We also tested the knife here [at KA-BAR], with several staff members carrying and using it during hunting season, as well as day-to-day use in our warehouse.”

The knife is intended to complement other popular models designed by the prolific Becker and brought to market through KA-BAR.

 “We look at the BK40 as a portable and compact extension of the Becker fixed blades,” Bradley explained. “You can’t always carry a BK2 Campanion but you can have the BK40 with you to do tasks around the campsite, job site or any other miscellaneous cutting task you may encounter. The BK40 captures many of the things that make Ethan’s fixed blades so popular. Its tough and straightforward design won’t break the bank. It’s comfortable to carry and backed up by our lifetime warranty.”

At .138 inch at its thickest, the AUS 8A stainless steel blade is middle-of-the-road thickness for a KA-BAR knife, and the intent is to allow for flexibility to perform a variety of routine tasks. The Becker line has a reputation for standing up to hard use and the BK40 walks a fine line between being compact and fast while simultaneously strong and robust. The handle is based on those of the hearty Becker fixed-blade designs, and the handy pocket clip provides the best combination of strength and limited weight.

MSRP: $59.19

Cold Steel Kiridashi

The Cold Steel Kiridashi employs the Andrew Demko Triad lock system for super strength, and the 4034 stainless steel blade is tough yet easy to resharpen.

The Cold Steel Kiridashi is an example of a “great EDC knife, sharp, light, tough, compact and easy to maneuver,” said Keith Beam, Cold Steel director of product innovation. “A great EDC knife has to fit your hand perfectly. It should clip in your pocket and be easy to deploy.”

According to Beam, the original kiridashi, an ancient fixed blade designed long ago in Japan, was configured to be nimble enough to teach children the art of whittling and making fine cuts. With an ambidextrous nylon pocket clip that helps deploy the knife without tearing garments and a resilient nylon Griv Ex grip built to never rot, warp or crack, the folding Cold Steel Kiridashi not only is nimble but meant to take plenty of punishment as well. 

It stands up to challenges that include the locked knife supporting the weight of a hanging engine block to test the lock’s strength, and also stabbing, whittling and other cutting chores. “My knife is used for everything from cutting boxes open to trimming axe handles to fit the heads,” Keith commented. “Wire, tape, wood, cardboard, no problem. I’ve even it used to crease-cut drywall.”

The Kiridashi utilizes the Andrew Demko Triad lock system for super strength, and the 4034 stainless steel blade, .118 inch thick at the thickest, is tough yet easy to resharpen.

MSRP: $42.99

Spyderco Flight

The PlainEdge blade of the Byrd Flight in 8Cr13MoV stainless steel opens via the “Comet Hole” in the blade. Also available in a CombinationEdge, the Byrd Flight blade secures in the open position via a frontlock.

Joyce Laituri, head of marketing, communications, and public relations at Spyderco, said the Flight in the company’s Byrd line of knives is “a mid-sized, all-stainless steel folder with an ergonomic handle and twin finger grooves that fill the palm. Its hollow-ground blade converges with an unsharpened swedge, creating an acute-pointed fine tip that is well-suited to detailed cutting chores.” The Flight comes in a choice of a PlainEdge or CombinationEdge (plain and serrated) blade.

For Joyce, the definition of a great EDC knife means getting up every morning and “putting on” what you know will be comfortable, reliable, and necessary for chores during the day ahead. “It’s something you feel at ease using in any situation, except maybe lending it to a friend for a minute,” she laughed.

The Flight is intended for the budget-conscious knife user. The Byrd line was directly inspired by some of the most popular Spyderco models, offering the same function and versatility but at an affordable price. 

Byrd knives feature the trademarked “Comet Hole” blade design for immediate one-hand opening, phosphor bronze washers, screw-together construction, 8Cr13MoV stainless blade steel, a multi-position pocket clip, and a mid-range blade thickness of .118 inch.

“These features combine to make the Flight an easy, functional, ready-to-carry folder,” Laituri said. “Spyderco also performs rigorous testing on all of our knives, including the Byrd line. We have an in-house testing facility and a specialized crew running the shop. I wish I could tell you what we use for testing, but much of that is proprietary and has been developed specifically by and for our testing needs.”

The Flight pocket clip is right-handed and adjusted for blade-tip-up or tip-down carry by manipulating three screws. The handle’s sequence of ergonomic curves fit the palm for comfort and fatigue-free control while cutting. For additional safety, a portion of the lock release is ground away. Called the Boye Dent, this is an add-on conceived by custom knifemaker David Boye designed to eliminate gripping the knife so tightly as to unintentionally release the lock.

MSRP: $57

Camillus Bolt

The Camillus Bolt blade is hollow ground from 440 stainless steel bonded with a Carbonitride Titanium finish to provide solid edge retention. The deep-carry pocket clip is a malleable steel to withstand abuse while allowing the knife to ride low rather than protruding from the pocket.

“It’s said that beauty is in the eye of the beholder,” commented Sam Dodge, senior brand manager of Camillus Knives, “and I think the same goes for an EDC knife. The knife needs to suit the everyday needs of the user. If you have a lot of one-handed tasks, easy open and close is a must. If you need something that gets significant rugged use, either being able to retain an edge or quickly sharpen it is key.”

For Dodge, the Camillus Bolt fills the bill as an outstanding and affordable EDC knife. “We opted to use a modified sheepsfoot blade on this knife,” he explained. “As a result, it doesn’t have the sharp fine point you find with most drop-point blades. It’s made for slicing, cutting and chopping.”

The Bolt blade is fashioned from 440 stainless steel bonded with a Carbonitride Titanium finish to provide solid edge retention, and, according to Dodge, after substantial use will take a renewed edge easily. At its thickest the blade spine measures .118 inch and tapers down to the hollow-ground edge. The grind was chosen for razor sharpness and to provide a nice platform to restore the edge during sharpening.

“We run our knives through their paces and torture test them,” Dodge added. “Drop them, open them thousands of times, and make sure that the locking mechanism is rock solid. I carry each one of our new knives in my pocket for at least a month and make sure they are used day in and day out for just about everything we can throw at them.”

The Bolt employs the Camillus CUDA lock, a sliding lock technology that has been a company mainstay for years. The handle is glass-filled nylon with a crosshatch diamond pattern to provide solid grip assurance. The deep-carry pocket clip is a malleable steel to stand up to abuse while allowing the knife to ride low rather than protruding from the pocket.

MSRP: $38.38

*Ethan lives in a most beautiful area of northwest Montana, where he tests knives in the Becker Knife & Tool line, including the BK40.

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What Not To Ask A Knifemaker?

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Just As Important As Knowing What To Ask A Knifemaker When Looking To Buy A Knife, Is What To Not Ask A Knifemaker.

Editor’s note: Last time we outlined the questions you should ask the maker. This time, we cover some of the things that you either probably should not ask—or at least should think through thoroughly before doing so. You can read part 1 here.

Custom knifemakers are, for the most part, reasonable people. Actually, they’re a pretty likable lot. Engage one in conversation and it’s likely to be a pleasant experience.

Ask a maker about a knife and the discussion enters another dimension, particularly if it develops into one between a seller and potential buyer. Questions are part of the exchange of information, and just about any inquiry is fair. However, it pays to be courteous and respectful and to remember that courtesy and respect go both ways.

So, are there questions that are off limits when discussing the merits of a custom knifemaker’s work, their background, experience, or perspective? What are the potential hot buttons and how much is too much when it comes to probing a maker? Well, if you have to ask yourself whether a question is appropriate, then think twice about asking it. If it might not sit well with you on the receiving end, just remember those principles of kindness and respect.

How Long Did It Take?

“Asking a maker how long it took to make a knife is not polite etiquette,” offered veteran Vince Evans, “and it could also be misleading. An experienced maker may take 40 hours to make a really nice piece, whereas a beginner may spend 100-plus hours and come out with a poorly executed knife. On more complex knives and swords, the process may take months, or even years, to complete. So, a maker may not keep track of how many hours he has in a piece.”

David Broadwell has more than 40 years of experience making custom knives, and the time factor is always a bit contentious for him. “This is probably the most often asked question of me,” he said candidly. “I don’t know how long it takes! I don’t punch a time clock on each project. Most of my knives are fairly complex, and I do each step or operation until it’s right, regardless of the time. Simpler knives are easier to track with regard to the time involved.

“Another thing related to time,” David continued, “is that it’s easy for someone to start believing that because I, for example, with four decades of experience in grinding, can make a knife more quickly than another maker, so I should charge less per hour. But that’s not a fair comparison. I have all that experience, so some operations are quicker for me—but I should be paid for that experience.”

 Before asking if a price on a knife is negotiable, take stock in the possible outcome of the query before making it. “In some cases, you will insult them,” said custom knife purveyor Dan Delavan (right), here with fellow purveyor Dave Ellis at the 2021 BLADE Show West. “But on the last day of a show, some makers may give a better deal.”

From a practical standpoint, BLADE Magazine Cutlery Hall-Of-Fame® member Dan Delavan of plazacutlery.com added, “It doesn’t hurt to ask, but most makers make knives in batches, so it’s hard to say.”

Even if the potential purchaser is bold enough to ask about the investment of time in a particular knife, the response may not be helpful. “It may not give you the answer you’re looking for,” commented longtime purveyor Les Robertson, “Why? Often the time to make a knife will depend on the maker’s experience level, the equipment in their shop, and the complexity of the knife. There is no set time for how long a particular knife should take to build.”

How Did You Make It?

Beyond the time element, looking at a particular knife may prompt questions of a sensitive nature, particularly about the process itself. When credibility is on the line, what should the potential buyer do?

“Hmm, I’d say watch his eyes and study his body language,” Broadwell advised, “and, of course, a buyer needs to educate himself to be able to spot fakery.”

It’s up to the buyer to educate himself in order to judge the truthfulness of answers concerning how a knife is made. One way to do that is to attend such knifemaking classes as those at BLADE University at the BLADE Show. Wally Hostetter shows students how to do the Japanese sword handle wrap at a past BLADE U.

Most often the knifemaker’s work speaks for itself and to an educated buyer the quality or lack of quality in a handmade knife is readily apparent, but there are telltale signs when the presenter is blowing smoke. “If he or she does not look you in the eye, it’s a good indication,” Delavan related. “Hesitancy in the voice is a tip-off as well.”

Developing rapport is a big part of any relationship, and becoming friendly with custom knifemakers is often part of the enjoyment of buying and collecting their work. Still, personalities vary. The outgoing, talkative individual and the introverted, quiet one may accept inquiries on a different level, and of course, there are the pressing factors of time commitment—particularly during shows. Monopolizing a maker’s table time is bad etiquette when he or she has other customers or prospects to interact with. So keep it polite and to the point with an awareness of the clock.

What Knife Do You Carry?

One of the more interesting questions for a custom knifemaker might revolve around the knife the maker carries. You may be going out on a limb, putting the maker on the spot, or even offending him if you want to know what’s in his pocket. Ask at your own risk!

“I’ve always been surprised to find out a custom folder maker was carrying a factory knife,” Robertson observed. “This made no sense to me. Carrying a folder made by them would allow the makers to field test their knives regularly. For makers who build larger fixed blades, it can be difficult to carry these knives regularly. However, if they hunt, camp or fish, they should be using their knife, again to field test it. I feel it gives the maker more legitimacy when they tell what their knives can and cannot do.”

Broadwell added, “This is very important to me. Personally, I believe if a maker carries on his person a knife from another knifemaker or a factory, he is saying, especially to the newer and less educated buyers, that knife is better than the one he makes. That is not good salesmanship and marketing of your own brand.”

Are Your Prices Negotiable?

 If the makers hunt, camp or fish, they should be using their knife, again to field test it. “I feel it gives the maker more legitimacy when they tell what their knives can and cannot do,” Robertson stated. Ed Burke’s big fixed blade should be right at home in camp. (SharpByCoop image)

Possibly the biggest question of all relates to pricing. Is it OK, fair, chippy, or downright irritating to ask a custom knifemaker if a price for a certain piece is negotiable? Once more, depending on the depth of the existing relationship between maker and potential buyer, take stock of the possible outcome of the query before making it.

“In some cases, you will insult them,” Delavan said bluntly. “But on the last day of a show, some makers may give a better deal.”

Robertson sees a subjective exercise in the dollar dilemma. “Pricing is something each knifemaker must figure out for themselves,” he remarked. “As the buyer, you need to educate yourself as to what it takes to build a particular style of knife. This will help you determine what you feel the price of the knife should be. My advice to knifemakers is to price their knives according to their position in the marketplace they are competing in. By doing so, you are offering your work at a fair price, and you should not lower your price. As the buyer, you can ask the maker to lower their price, but don’t do so just because you think you should haggle on the price of a knife. You are not buying knives at a flea market.”

Tact and diplomacy work better than the “ready, fire, aim” approach. Knowing something about the knifemaker may indicate whether the door is open for negotiation. “This is a tricky question,” Broadwell said. “If the buyer is polite and respectful, it’s all right to ask. However, if the maker does not want to bargain, it should be dropped. What ticks makers off is a potential buyer who says he will just give such and such for a knife and that that’s all it’s worth. That’s arrogant and disrespectful!”

Concerning guarantees and 100-percent buybacks—the latter involving the maker buying the knife back from you if you buy it but then don’t want it—consider the accountability on both sides. 

Choose Wisely

Like so many interactions between two people, the questions asked and answered relating to custom knives revolve around the delivery. Mutual understanding is essential. One individual is plowing his or her hard-earned money into the purchase of a knife, while the other is expected to accept payment for the time that is gone forever, and for the cost of materials, equipment, shop, and general overhead.

Choose words and ask questions wisely—always.

Editor’s note: In the final analysis, it’s your money that’s involved in a knife purchase, and the questions you ask a maker about their knife you are considering buying are up to you. One thing to remember: If it’s a knife you simply must have and you ask a question that is out of bounds and upsets the maker, the chances of you having that knife may be nil to none—not to mention the chances of you buying any knife directly from that maker in the future.

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What To Ask A Knifemaker

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From Forging And Picking The Right Materials To Putting Together The Fairest Return Policy And How To Run Your Business, There Are Many Questions Fledgling Knifemakers Should Ask Veterans.

This is the first of a multi-part series about knifemaking

When you consider buying a custom knife, certain questions come to mind. Some are easier asked and certainly more easily answered than others. However, anytime money is forked over in exchange for a handmade, well-built knife, an exchange of information takes place. Still, there may be a fine line between the ordinary, the somewhat sensitive and the downright invasive.

BLADE® asked some well-established custom knifemakers and purveyors what they thought about playing 20 questions with a prospective buyer. In this round of discussion, we’ll tackle those questions that should be asked and answered.

Testing And Heat Treating

I like the questions about testing and heat treating,” commented American Bladesmith Society (ABS) master smith Mike Quesenberry. “As for heat treating, it’s good to know what the maker does. Do they do the work themselves, and what type of heat treating do they do? Is it in a forge, heat-treating oven, do they use a salt pot? Then, on the performance aspect of the knife, is the maker doing any testing, taking it out and beating it or something else depending on the intended use of the knife?”

Veteran ABS master smith and mosaic damascus pioneer Steve Schwarzer agrees. The heat-treating query is near the top of his list. If the makers did the heat treating, did they do it themselves? 

“If so, have each maker explain the method. It is perfectly acceptable to ask this question because it is the heart of the blade,” Steve reasoned. “If the maker did not heat treat the blade, ask who did and check the reliability of the heat treater.”

 When buying a hunting knife, it’s fair to ask if the makers are hunters themselves or use their own knives in the field. J.C. Provost’s hunter features a 4-inch blade of CPM 154 stainless and scrim by Joanna Provost. (SharpByCoop image)

Authorship

The origin of the steel itself, the aspect of sole authorship, and even asking a bit about the maker’s background is perfectly reasonable, according to longtime purveyor Les Robertson.

“Did the maker do all of the work on the knife? If not, which part of the process is outsourced and why?” Les offered. “If certain aspects of the maker’s knife are being outsourced, this may not be a true custom knife. There can be a fine line between a custom knife and a mid-tech knife. Often, makers grind knives in batches. Consequently, it is more efficient time-wise and more economical to send the blades to a reputable heat treater.

“If the knife features a forged type of blade, especially when it comes to damascus, ask the maker if he forged the steel,” Robertson added. “This question is more germane to those makers not in the American Bladesmith Society. Several people specialize in making damascus for makers to use in their work. Most do an excellent job and offer patterns that will give your knife a unique look. Asking the makers if they belong to a particular knifemakers’ organization is a fair question. But you, as the buyer, should understand what requirements have to be met to belong to the organization and attain certain ratings in each.”

How They Do It

Methods, maker preferences, and perspectives are good areas to probe when discussing the makers’ work. How do they do their thing day in and day out?  

“I think buyers should ask whether a knifemaker is a stock removal maker or forger,” said award-winning maker David Broadwell. “That will start to determine what kind of knives people will want. But then, it may not make any difference as long as they like the knife and the maker. Then, the knifemaker should be asked if he or she does all their own work, and if not, what is done outside their shop. This is to determine honesty on the knifemaker’s part. There are other things to ask as well to get to know the knifemaker—full or part-time, family. I like people to know who I am.”

Knifemaker Guarantees

Purchases are often made with the understanding of a guarantee, a buy-back to ensure customer satisfaction. 

“You can ask, but I don’t fault anyone if they don’t offer a [buy-back] guarantee,” Broadwell noted. “You can’t buy most any product, say a Harley-Davidson motorcycle, and decide you don’t like cruiser bikes and expect your money back! A deal is a deal, as they say. Now, some makers specialize in multiples of given models, and they may be happy to take a return if they believe they’ll sell it right away.”

The components that make the knife sometimes have a bearing as well. After stressing the sole-authorship point, BLADE Magazine Cutlery Hall-Of-Fame® member Dan Delavan of plazacutlery.com finds a warranty to be reasonable in some circumstances, and then adds a question on components as important to the sales equation.

“Warranty? Just workmanship,” Delavan offered. “The maker cannot guarantee materials as they shrink and expand. The maker should be willing to repair for a charge. Then, does he or she do all the work, and if not, what is done by others? Does the maker bring in outside parts that he or she does not make on her own, examples being such as parts that are made in China or elsewhere, even in the USA? Is the maker able to make modifications?”

For Robertson, the concept of a guarantee is implicit in the trust that develops between maker and buyer. An understanding of care and use is necessary when the question of the guarantee is posed.

“A lifetime guarantee comes with certain responsibilities for both the maker and the buyer,” Les related. “The makers should guarantee the work with regards to their craftsmanship and materials used. Your responsibility as the buyer is to use the knife as it was intended to be used. During normal use, if the blade breaks, yes, the maker should build you a new knife. Now, if you are using a folder as a pry bar and the blade breaks, you are not using the knife for its intended purpose. Subsequently, that is your fault and the maker does not owe you a new knife.”

Genre Specific

Vince Evans

Some makers specialize in historical pieces, reproductions of knives and swords that reflect the times in which the originals were active. Such situations might influence the dialogue between maker and buyer, according to maker Vince Evans.

“My little corner of the field is very different from most other makers,” he explained. “My work is mostly ‘historical’ in nature, so questions to ask could be, ‘Can you tell me more about this piece?’ or ‘What culture is this piece based on?’ or ‘Is this sword based on a specific find?’ When I first met [Cutlery Hall-Of-Fame writer] Ken Warner years ago at the BLADE Show, he walked up and asked, ‘Am I looking at antiques or did you make these?’

“When it comes to period pieces, a telltale sign that a maker hasn’t seen or handled an antique knife or sword is that his rendition is oversized or overweight. Most antique swords, daggers and knives were much more petite and delicate than you would imagine. I encourage makers to study original pieces firsthand, even if it is through a glass case in a museum, before making a period piece. Photos in books and online do not give you a true feel for the original, although many resources do give you measurements and weight. There is no substitute to studying originals firsthand.”

The genre or style that a maker pursues is often the first indicator that a discussion is at hand. Catching the customer’s eye naturally leads to inquiries. When conversation surrounds a custom order, there must be clear understanding related to the finished knife.

“There has to be an exchange between the maker and the customer,” Quesenberry noted, “and that relates directly to how the knife will be used. If it’s a hunting knife, will the customer be skinning only, or will they be breaking bone with it? The customer has to ask what the maker’s knife is intended to do, or if the maker can produce the using knife the customer wants.”

Communication is the key for both parties to be satisfied with the outcome of the buy-sell arrangement. For example, when purchasing a hunting knife, it’s fair to ask if the makers are hunters themselves or use their own knives in the field. 

“Sure,” Delavan smiled, “but in some cases the knives can be too expensive for the maker to use. Most knifemakers are not rich!”

Knifemaking Mentors

One of the most important questions to ask makers relates to their background, where they learned their craft—particularly who their mentor, or mentors, in the industry might be. Identification of those who introduced makers to their life’s work or helped bring their skill set along will provide an insight into philosophy, work ethic and mindset, and, ultimately, quality.

“Ask who their mentors are,” Schwarzer advocated. “This is especially important if the maker is forging blades.” 

 Several people specialize in making damascus for makers to use in their work. Most do an excellent job and offer patterns that will give your knife a unique look. Del Ealy forged the ladder-pattern damascus for the Angel’s Wing art dagger by Steve Vanderkolff. (Caleb Royer image)

Added Quesenberry, “It’s always good to know a guy’s background and the schools they went to and whether the makers continue to educate themselves on newer methods or techniques, or are they becoming stagnant? Do they want to up their game and experiment with different things?” 

Chipped in Broadwell, “Of course, I’m proud of the men who shared information and helped me in my earlier years, and if I learn something new I’m happy to share that person’s help as well.”

Open Dialogue

The best approach to discussing the buying or selling of a knife is for both maker and potential purchaser to have mutual respect for one another. In the end, talk may be cheap. However, real, honest and open dialogue develops trust and assurance that the process is working for each party.

Ask questions. Consider responses. Come to informed conclusions, and remember that the entire experience revolves around the knife itself, its quality, materials, looks, and price tag. Most makers welcome questions and are willing to provide candid answers. In that alone, the level of assurance is elevated.

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