Mike Haskew, Author at BLADE Magazine

Feeling Good: 4 New Handle Materials

-

August 31, 2022

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

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.

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

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

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.

Read More

Best Budget EDC Blades: Excellent Economical Options

Featured Knives

Mike Haskew

-

August 15, 2022

1

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 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

“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.

Read More

What Not To Ask A Knifemaker?

Uncategorized

Mike Haskew

-

August 1, 2022

1

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.

Read More

What To Ask A Knifemaker

Uncategorized

Mike Haskew

-

July 14, 2022

1

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

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.

Read More

Hallmark Of The Hamon

Knifemaking

Mike Haskew

-

July 6, 2022

0

For Ages, The Hamon Has Fascinated Makers And Knife Users Alike. Finicky, Beautiful, And Historic, The Hamon Continues To Wow.

It stretches much if not most of the blade’s length, and when it appears it’s accompanied by an air of mystery, of the exotic. Its contours are created by the knifemaker, and it has always served as a focal point for function and aesthetics. But exactly what is it?

For ages, the hamon has fascinated craftsmen and cutlery users alike.

“Technically, the hamon is the differentiation line between the hardened martensitic edge and the ‘not hardened’ body of the blade,” explained ABS master smith Brion Tomberlin. “The term temper line has been around for years, and, in my opinion, is not correct. Temper refers to drawing back the hardness of the hard martensite after quenching to reduce brittleness and impart toughness. So, a hamon is not a line where temper starts and stops.”

Elaborated knifemaker Joel Mercier, “Tempering refers to the action of heating a quenched steel to a given temperature to remove the brittleness induced by the newly formed martensite, the hard steel molecules created when a steel is quenched. Untempered martensite is very hard but also brittle as glass. It is possible to temper various zones of a blade at different temperatures.”

The hamon is an indicator of the hardening difference between the edge and the softer areas of a blade. These areas are not developed during the making of the steel itself, and a hamon may be formed with stock removal or forged steel.

The hamon comes to life in the quenching process. By achieving different cooling rates, makers form various quantities of martensite, hence a varied hardening of the steel. The faster the steel cools, the higher the percentage of martensite.

The appearance of the hamon denotes a harder edge and a tougher spine in the blade, allowing for flexibility while preserving sharpness and cutting ability. “The hamon,” related knifemaker Johnny Raymer, “is the visual representation of the transition zone between the hardness levels in a differentially heat treated blade. A temper line is often visible within a hamon and is the boundary in which the most drastic change in hardness occurs.”

Along with the functional aspect of the hamon, there is an artful attractiveness. Raymer explains that the hamon extends beyond the temper line itself to the further reaches of the blade during the blending of hardness levels. Most often this is seen toward the edge, yielding a smoky appearance and becoming the hamon’s most artistic component.

How Do You Make A Hamon

Developing a hamon depends on controlling the cooling of the steel as necessary. The rate of cooling is typically determined with the use of clay or another suitable material.

“First, you need to consider your steel selection,” Tomberlin advised. “You need a steel that is low alloy and has a low manganese content. Manganese promotes deep hardening, and the more manganese you have in the steel, the less hamon formation will occur. The most common modern steels that fill the bill are 1095, W1, W2, and 1075, and before the steel is quenched a coating of clay of some sort is applied to the surface that you intend to be less hard. The clay slows down the cooling process in that area.”

Order: 210218_Joel_Mercier_001 Maker: Joel Mercier Email: [email protected] Phone: +1 08196905635 Knife Info: Maple sap sprout themed fighter W2 steel blade, wrought guard and buttcap, copper fittings and curly maple.

Once a blade has been forged or stock removed, Tomberlin takes it to a 120-grit finish that will allow the clay to stick. He thoroughly cleans the blade to remove any oils and then applies the clay. He prefers satanite refractory mortar and learned to use it from now-retired ABS master smith Don Fogg years ago. However, fireplace mortar or certain types of cement, Rutland for example, will also work.

When a light coating of clay is applied, the maker can manipulate the pattern of the hamon. For quenching, Tomberlin uses Park’s 50 oil. Water is an alternative but it takes practice and may produce cracks. “It isn’t for the faint of heart,” he commented.

After quenching, a quick grind at 120 grit will reveal the hamon. Telltale signs that the process has gone awry include the absence of activity—a consequence of the blade being too hot at the moment of quenching. If the hamon runs off the edge of the blade or falls below the pattern of the clay, it indicates that the clay coating was too thick or the blade was not hot enough to perfect the process.

A fine example of a Tomberlin hamon is seen in his chef’s knife with a seven-inch W-2 blade, exhibition thuya wood burl handle, G-10 spacers, and silicon bronze accent. The hamon is subtle yet striking and reaches toward the blade edge in a stunning display.

Raymer adds that the temper line is the boundary of differential hardening, but also notes that it may be more visible in some cases than others.

“It is almost always unbroken, but as far as being clear and well defined, that is not always the case,” he observed. “Depending on the etching or polishing process you can get multiple results for the visual aspect of the hamon, as well as multiple temper lines depending on the hardened areas.

“Etching for a stark contrast with dark smoked or bled-out areas in the ashi* region of the hamon is very popular. But the hamon can also be given a frosted appearance with etching or simply polishing to give it a subtle ebb and flow that is only seen as the hamon catches light.

“As far as a well-shaped pattern, the hamon is very controllable by the artist crafting the blade,” Johnny maintained. “It could be as systematic or symmetrical or as organic and free as the craftsman desires. The most important objective, as with many aspects of knifemaking, is symmetry from one side of the blade to the next.”

Raymer reveals his skills with the creative hamon achieved on a 5.25-inch blade fashioned from 1095 steel accompanied by a magnificent 11-layer handle consisting of brass, G-10 spacers, Tasmanian blackwood and black ash burl. The overall length is 10 inches, and the knife is accompanied by a sheath in seven or eight-ounce leather with a multi-directional belt attachment.

Those who work in stock removal and wishing to try the hamon technique can take heart. “Forged blades and stock removal knives have the same potential for hamon activity in my opinion,” Johnny stated. “All knives become stock removal at some point. The heat treatment is the same for me in a stock removal knife as well as a forged knife.”

Mercier calls the maker’s manipulation of the hamon the most interesting part of the process. “I have yet to ‘crack the hamon code,’” he advised. “There are many variables at play here, all of which will dictate where and how the hamon will show. The geometry of the blade, the steel used, the type and thickness of the clay, the temperature of the steel, the type and temperature of the quenchant, a vertical or horizontal quench, and more.

“I don’t believe there are better shapes for a hamon. As for the location, I would say it depends on the type of blade and how crucial the hamon is. For example, a hamon is more of a question of aesthetics on a kitchen knife than it is on a weapon. A hamon done properly will show three zones very clearly—high, medium and low martensite areas—and it won’t get too close to the edge of the blade.”

Mercier showcases his hamon technique with a fighter sporting a W2 steel blade, wrought iron guard and buttcap, copper fittings, and curly maple handle. The hamon is well defined and distinctive, clearly marking the effects of the differential quenching process.

“A hamon has nothing to do with forging steel,” Joel agreed. “It all happens during quenching, no matter whether the blade is forged or done by stock removal. If the wavy line of the hamon drops down below or into the blade edge, it means that area will be softer and will compromise the edge performance. Many things can be responsible for this, such as a quenching temperature that is too low, clay that is too thick or too low on the blade, or a quenchant that is too slow. I believe the most common mistake new makers do is using too much clay.”

The Visual Beauty Of The Hamon

In the end, the development of the hamon primarily adds another dimension to the visual presentation of the knife. It certainly denotes a maker’s skill and attention to the need for a tough spine and an edge that maintains its sharpness without being too brittle.

The 1084 carbon steel blade of Adam Mille’s fighter comes complete with hamon. The handle is quilted big leaf maple burl. Overall length: 11.5 inches. (SharpByCoop image)

“Hamons themselves are just an aspect of art,” Raymer reasoned. “The process of differential hardening is beneficial in creating a blade that can take more impact like those seen in fighting knives or choppers, but still performs cutting tasks proficiently. This hardening method allows the knife to spring and/or bend without shattering and without reducing edge performance.”

The hamon, therefore, is representative of the highest performance in blade steel, a visual cue to the user to have confidence in the knife’s ability to undertake the task at hand.

*Ashi refers to the area of a hamon’s lines or shapes that descend toward the edge, and are created by thin strips of clay applied during the coating process.

Read More

Hunting Knife Sheaths: The Constant Companion

Mike Haskew

-

June 16, 2022

0

The Correct Sheath Is Pivotal To The Complete Hunting Knife Package. A Good Sheath Can Keep Your Knives Safe And Sharp For Decades.

For the hunter in the field, a dependable and durable hunting knife is indispensable equipment, and it follows that the sheath that holds the knife must be equally up to the task.

Secure carry, protection for the blade and handle, easy access, and the ability to stand up to the elements and hard use are essential. While there is a variety of sheaths available and each one contributes something to the equation, the sheathmakers themselves have come to eye-opening conclusions as to the making and deployment of the correct sheath for the hunting knife. Personal preference is still a prime mover, but the basics make the difference between cooperation and catastrophe in the field.

“The best style for a hunting knife sheath is whatever the hunter wants,” explained veteran sheathmaker Paul Long. “Personal preference is very important. However, the knife that would best be described as a hunter would be best suited in a deep seat pouch with a loop that would carry relatively high on the belt. In most cases the deep pouch would preclude the need for a retention strap. For a double-guard hunter, a drop-loop belt sheath would probably be best with a snap strap for secure retention.”

Depending on the style of the knife, the guard often dictates the best pouch configuration. “I favor the pouch-type sheath, and the hunting knife generally has a single guard as opposed to a double guard,” related sheathmaker Paul Lebatard, who also has found success with his custom knives through the years. “I make a lot of doubles, too. You would have to make a snap-type sheath with a keeper strap, but on hunting knives with single guards the pouch type is always best.”

Three different styles of pouch sheaths by Kenny Rowe, from left: regular pouch, plain leather; strap pouch, floral hand carved; and full flap pouch, full coverage gator. (Kenny Rowe image)

A sheathmaker for over 50 years, Chris Kravitt zeroes in on the personal preference perspective. “First and foremost, it’s a matter of the configuration of the knife, and then if more than one style will work it becomes a matter of personal preference,” he observed. “My preference is to go with the pouch because it is easier to draw and resheathe the knife without worrying about straps.”

At the same time, Kravitt acknowledges varying hunting knife construction and its influence in sheath form and function. “If a knife has a double guard, it isn’t going to work on a pouch sheath, and if you have a knife with an integral handle, possibly,” he said. “Certain things don’t lend themselves to the traditional style, like when the blade is the widest part of the knife or there is no bolster or ricasso extending beyond the edge.”

Kenny Rowe, owner of Rowe’s Leather in Hope, Arkansas, adds another option on the hunting knife sheath. “Ninety percent of these sheaths would be the pouch type because they cover most of the knife, and with the guard you can make a welt where the knife has some resistance coming in and out,” he noted. “Some sheaths will have a lid that has a snap on it, and that is as secure as you can get with the flap snapping over the front of the sheath.”

The consensus with the pouch sheath makes sense for all the reasons that the hunter encounters in the field. For its toughness and the ability to shape and mold the sheath as desired during the construction process, cowhide reigns supreme among sheath materials. Most sheathmakers use 7-to-9-ounce* vegetable-tanned cowhide.

Style Of Sheaths

The use of exotics such as ostrich, stingray, alligator, crocodile or other hides is a continuing option, though for the most part they are used as accents, often in the form of inlays, rather than adding any performance-related component to the sheath.

“Exotics are very useful in sheathmaking but primarily for aesthetics,” Long explained. “Elephant and shark are two that are tough enough to withstand very hard use and are usually built as an overlay on a vegetable-tanned base sheath. I work with various snakes, lizards, ostrich and many others.”

Ultimately, Chris Kravitt—here working on a sheath in his shop—stands by the individual perspective. “First and foremost,” he begins, “it’s a matter of the configuration of the knife, and then if more than one style will work it becomes a matter of personal preference.” (Chris Kravitt image)

As Kravitt noted, “The basic sheath is going to be cowhide 99 percent of the time, but for overlays and inlays my favorite is stingray, which is near bulletproof but more expensive and harder to work with—but great stuff. Ostrich leg or shin is very nice, and Malaysian horned frog has a very nice texture to it. Snakeskin is not very durable, but it’s fine when the knife and sheath are for show since it won’t hold up with regular use.”

Tooling and carving also provide style points and may be pleasing to the eye. However, neither actually contributes to the performance of the sheath in field use. “I occasionally do some tooling with stamps, but carving is a talent I don’t have,” Lebatard remarked. “Still, on almost every sheath I’ll put something in keeping with the theme of the knife, like a small deer. Someone might place an order and specify that they just want a bare, plain sheath, or they may want just their initials on it. That’s a good thing about leather. When it is wet it can be molded and stamped, and when it dries it will hold that impression.”

Tanning And Steel

Vegetable tanning is essential when the blade meets the sheath leather for an extended period. In contrast to chrome-tanned leather, a vegetable-tanned leather is not known to corrode or stain a blade left in the sheath for any length of time. That old admonition to store the knife itself separately from the sheath will then get a longer look.

“A lot of people say not to store knives in the sheaths, but as long as the sheath is made of good vegetable-tanned leather, I’ve never had a problem,” Lebatard noted. “I made a knife for a friend a few years ago and he didn’t want a sheath. He was going to get someone else to make the sheath for him. Several years later, he brought the knife to me and he had had it in a chrome-tanned leather sheath. It was nearly rusted through. The chrome-tanned leather is very corrosive.”

Kravitt has had similar experiences. “I hear so many people say not to store knives in leather sheaths, but I have kept knives in sheaths for years and never had a problem,” he recalled. “My sheaths are all vegetable tanned as opposed to chrome tanned. Chrome-tanned leather may have salts and other things in it.”

Drainage And Inserts

Waterproofing is another essential element, and in the construction itself there are questions surrounding drainage holes and inserts as well.

Most sheathmakers shy away from inserts since contact with the blade may dull the edge. After all, the welt and/or strap should suffice for a snug fit. Inserts in and of themselves may be judged to provide some measure of redundancy, but contribute little to the overall stability of the lockup or in protecting the knife itself. Long says, “Even the best inserts, being rigid, will do more harm to a blade than top grain leather.”

The different decorations Kenny Rowe offers with his sheaths include, from left: smooth; border tooled; basket weave; acorn and oak leaf hand carving; exotic skin overlay (gator); exotic skin inlay (beaver tail); and exotic skin full coverage (ostrich leg). (Kenny Rowe image)

At first glance it might appear that a drainage hole is a good idea to help maintain cleanliness and prevent the buildup of moisture or debris within the sheath. Not so fast!

“I do not ordinarily put a drain hole in my sheaths,” Long asserted. “Nor do I do any waterproofing of the interior of the sheath. Rather, I depend on the normal intelligence of my client to not go swimming with their sheath, and to at least try to clean the blood and guts off the blade before reinsertion.”

Rowe agrees. “I don’t see any sense in it,” he commented. “I can count on one hand the number of sheaths I’ve made with drain holes in them, and I’ve been making sheaths for 35 years at least. The only time I would expect someone to have their sheath in really wet conditions would be if they accidentally rolled into a deep river or their boat sank. I wouldn’t expect someone to haul off into neck deep water with their hunting gear on. For debris, it’s easy enough to take a wire with a little hook in the end and just rake the sheath out, or blow it out with air, or stand it upside down and shake it or tap it on a table.”

Kravitt, on the other hand, will utilize a drain hole and an insert from time to time. Often, the insert itself is fashioned from leather to avoid additional friction against the knife edge. The employment of the drain hole is in direct response to the future use of the gear in the field.

“If I know the sheath will be used in harsher conditions, I think it should have a drain hole,” he remarked, “not just for draining moisture, but also removing debris—especially when the user has spent a lot of time in the woods.”

Sheathmakers do tend to rely on the owner of the product and of the hunting knife to exercise responsibility in the field. “Explain to the client, if they are a novice, about the ‘care and feeding of a leather sheath,’” Long smiled.

How To Care For A Hunting Sheath

The well-crafted sheath is the constant companion of the hunting knife, either in the field or a collector’s cabinet, and the best measure of the sheath’s contribution is its role in that partnership. For the sheath to function properly, owners must remember the fundamentals of hunting knife care. Keep both the knife and sheath clean. Wipe away moisture and other fluids. Maintain the surfaces as needed. Don’t put the knife away wet and expect the sheath to do more than expected.

Adhering to best practices will ensure long life for both the hunting knife and its all-important sheath.

*According to the Montana Leather Co. website (montanaleather.com), leather thickness is typically measured in ounces. For instance, an ounce of leather is equal to 1/64 inch. As a result, 7-to-9 ounce leather will be in the 1/8 inch range, give or take a few millimeters.

Read More

Heirlooms Of Time

Mike Haskew

-

June 4, 2022

0

Many Top Knifemakers Are Keeping Historic Styles And Methods Of Making Knives Alive Today.

Historical perspective is a relevant component in just about any undertaking. In the realm of cut, incorporating an appreciation of the past into the work of today brings another dimension to the custom knifemaker’s statement.

Interest in the knifemaking of a bygone era offers a window into the true artistry required to reproduce the knives of yesteryear, particularly with the absence of modern conveniences in the shop. Along with the interest in the historical knife, several custom makers bring famous designs, styles and patterns to life once again in tribute to those who have gone before.

The idea of the period piece blends old and new. “I’ve been making knives seriously since about 2002 when I took a class with the American Bladesmith Society in Washington, Arkansas,” related ABS master smith Lin Rhea. “Joe Keeslar and Greg Neely lit a fire under me and got me on my way. Since then the town of Washington has been like a second home, and I’ve even added to the personal connection between me and the area by interest in one of the town’s historical residents who was also a knifemaker. His name was James Black.”

A resident of Prattsville, Arkansas, Lin gained an appreciation for Black’s distinctive body of work*, using contrasting materials and techniques to create a bold, attractive look. “I’m grateful to get to know Mr. Black by studying his work,” Lin continued. “This intense study

Lin Rhea’s reproduction of the Carrigan Knife is based on a dress bowie James Black is thought to have made in the early 1830s in Washington, Arkansas. The original Carrigan includes a black walnut handle with coin silver pins and trim. The blade is about 6 inches long and the overall length is approximately 10.25 inches. (Whetstone Studio image)

led me to try to recreate one of his knives, the Carrigan Knife. The original knife, a guardless coffin-handled bowie, was made by Mr. Black in the early 1830s in Washington, Arkansas. I chose the Carrigan as my first attempt because of its less intimidating size; however, as is often the case I found it to be just as intimidating once I started into the project.”

The original Carrigan includes a black walnut handle providing a nice contrasting background to the coin silver pins and trim. The blade is about six inches long, and the overall length is approximately 10.25 inches. The full tang is virtually covered entirely by the walnut scales and the silver wrap.

When Rhea undertook his homage to Black and the Carrigan, he chose stabilized walnut, which he harvested himself several years ago, and trim in sterling silver. He forged the blade from 80CrV2 carbon steel and included at least 30 separate parts while attempting the same techniques used by Black nearly two centuries ago in fastening and assembling the finished knife.

“There is so much to be said about not only this knife but also Black’s work,” Lin concluded. “He was able to create a knife design utilizing only three materials yet impacting the knife world as few others could. His ability to arrange these materials into a functional, long-lasting, beautiful tool is only enhanced by the knowledge that he also built in other qualities like moisture resistance, logical assemblage and ergonomics. All of this was done in a historic setting without modern equipment and epoxies. In my opinion, his design is ingenious.”

Gold Rush Knives

Recently inducted into the BLADE Magazine Cutlery Hall of Fame® knifemaker Jim Sornberger has assimilated his gold and silversmith skill sets into custom knifemaking while helping introduce the modern world to the classic design, luster, and embellishment of the Gold Rush era and boomtown San Francisco of the mid-19th century.

BLADE Magazine Cutlery Hall-Of-Fame® member Jim Sornberger’s interpretations of the Michael Price San Francisco/small dress bowie have won awards at various venues, including Best of Show at the 2019 International Custom Cutlery Exhibition in Fort Worth, Texas. This one features a blade in Vegas Forge stainless barstock AEBL and 412 stainless steels and san-mai damascus with a solid core. The guard and wrap handle are in Mike Sakmar mokumé barstock. Jim’s price for a similar knife: $3,500. (SharpByCoop image) — Jim Sornberger’s interpretations of the Michael Price San Francisco/small dress bowie have won awards at various venues, including Best of Show at the 2019 International Custom Cutlery Exhibition in Fort Worth, Texas. Jim’s price for a similar knife: $3,500. (SharpByCoop image)

“I’ve been making knives since 1975 with the help of the late Les Berryman, an early Guild member, and with some guidance from Bob Loveless, Herman Schneider and Barry Wood,” Jim recalled. “The last three signed for me to join The Knifemakers’ Guild.”

For Sornberger, the style, embellishment and decoration of the canes, jewelry and knives of the Gold Rush era are most appealing. “San Francisco from 1850 to 1904, the Gold Rush period, was one of the wealthiest cities in the world, attracting some of the greatest artists, jewelers, carvers, and engravers to ply their trade to a wealthy clientele. The work done in that period,” he opined, “rivals the best ever done.”

In the knifemaking genre, Michael Price and Will & Finck were among the most successful and prolific of the Gold Rush. Their work remains emblematic of the great migration to settle the American West, and the riches and ruin that were found with the experience.

“Price was Irish, and both cutlery firms hired workers who were English, German and possibly Scottish,” Sornberger explained. “Their dress knives are probably the most embellished American knives made in the 1800s-1900s. The dress knives had two common handles: an interesting, modified coffin shape and a more rounded, subtle taper shape. The blade shapes are spear-point dagger and San Francisco clip spear point.”

Sornberger is recognized as an authority on original San Francisco knives, as well as the magnificent gold quartz that was used so well by Gold Rush artisans. His modern interpretations of the Michael Price San Francisco/small dress bowie have won awards at various venues, including Best of Show at the 2019 International Custom Cutlery Exhibition in Fort Worth, Texas.

Jim’s dress fixed-blade bowie in the accompanying picture was made with Vegas Forge stainless barstock AEBL and 412 stainless steels, and san-mai damascus steel with a solid core. The guard and wrap handle are in Mike Sakmar mokumé barstock. Jim’s made such handles in gold and silver and nickel silver, also. The inlays are tortoise celluloid and California native gold/gold quartz.

According to Sornberger, the biggest challenge in his stunning creation was grinding the blade to show the distinctive pattern of the shell and the hardened core. The san-mai laminated blade was etched with ferric chloride, rinsed and color set with WD-40®.

The Frog Knife

“The style of Michael Price’s work is a really good canvas with flowing lines, and there is a lot you can do with it,” observed ABS master smith Jon Christensen, who is in his 22nd year of making knives. “I wouldn’t call my San Francisco-style knives replicas. I do like to keep to the original form and honor the style of the maker, though.”

One of Christensen’s most evocative pieces to date is referred to simply as the Frog Knife. However, the piece is far from simple, and Jon manages to convey the spirit of the Michael Price style while also imprinting some of his own personality.

“I built the feathered damascus for the blade with 1080 and 15N20,” he advised. “It’s a canister damascus. I forged the bamboo leaves and placed them in the can, welded it up, reduced it, and feather cut it so it would produce feather-cutting smears and leaves, and form branches to look like a little grove of bamboo leaves.”

The 10-inch knife has a 5.5-inch blade and a frame and sheath incorporating 410 stainless steel. Christensen utilized the “canvas” of the handle to the fullest, carving the mammoth ivory into a pleasing vignette of frogs and lily pads.

“The handle has something of a back story,” he smiled. “I had seen the Poppy Knife that Michael Price made and thought I would do my version. I took the knife to the BLADE Show and it didn’t find its owner. Then, the handle got ruined, and I just took the opportunity to rehandle it with the frogs and lily pads.”

Christensen got his start making stock removal knives after a career as a horticulturist. He learned to forge while working with ABS master smith Ed Caffrey and visited with knifemaker Rick Eaton and ABS master smiths Shane Taylor and Wade Colter. Jon also makes San Francisco folding knives and enjoys swordmaking. Plans for the future include more period pieces.

Kimball Style

ABS master smith Josh Smith owes his little league baseball coach, ABS master smith Rick Dunkerley, credit with getting him started making knives about 30 years ago. From the beginning, Josh has appreciated the thought process and craftsmanship of custom makers from a bygone era.

“There’s something special about reproducing something that was built nearly 200 years ago,” he reasoned. “It’s easy to get lost in your thoughts while working on these knives, wondering what the makers were thinking about at the time. Was the knife going into battle? Was a rich man just wanting something unique? Was the maker just trying to be different and impress people? Were function and effectiveness of use the only factors that mattered? It’s really cool to think about.”

Josh Smith’s dog-bone-handle dagger is a reproduction of a knife owned by Loring Kimball of Vicksburg, Mississippi, in the mid-1800s. The grip gets its name from its shape. “I never pretend to exactly reproduce these knives,” Josh noted. “I always put my own spin on the knife, trying to bring some of my style into it.” Overall length: 14.25 inches. (Eric Eggly/PointSeven image) — Josh Smith’s dog-bone-handle dagger is a reproduction of a knife owned by Loring Kimball of Vicksburg, Mississippi, in the mid-1800s. The grip gets its name from its shape. Overall length: 14.25 inches. (Eric Eggly/PointSeven image)

Josh has found the opportunity to consider historical context with a dagger in the distinctive dog-bone handle, recalling the mid-1800s when a gentleman named Loring Kimball of Vicksburg, Mississippi, owned several similar original pieces that were probably made by at least two different knifemakers in the New Orleans area. Knives in what many refer to as the Kimball style have been reproduced by a number of modern makers, mostly bladesmiths.

“The distinctive characteristic of the dog bone is clearly the shape of the handle,” Smith said, “but to me it’s more than that. The large domed pins and the flat facets on the handle provide such a neat look. One of the original Kimball daggers from the 1830s had silver wrapped around the butt of the handle and a small, thin silver guard. I never pretend to exactly reproduce these knives. I always put my own spin on the knife, trying to bring some of my style into it.”

Smith’s dog-bone dagger is fashioned from his own ladder pattern “W’s” damascus blade, African blackwood handle and 18k-gold pins and liners. The 9.5-inch blade is forged from 1080 carbon and 15N20 nickel-alloy steels, while a gold collar stretches over the back of the blade and bears the engraved name of the maker. Overall length: 14.25 inches.

“This particular knife was heavily influenced by Tim Hancock,” Josh said. “I feel Tim, Harvey Dean and James Batson are the three men who led the way in bringing these knives back to prominence, and Tim had the most influence on my construction of these knives. I love period pieces and definitely plan on doing more. There are so many incredible weapons from the past that would be fun to recreate.”

*While a number of top industry authorities attribute such original 19th-century pieces as the Carrigan Knife, Bowie No. 1 and others to Black, no knives with Black’s mark are known to exist.

Read More

Mike Haskew

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

Fat Carbon

Westinghouse Micarta

TeroTuf

Ringed Gidgee

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.

KA-BAR Becker BK40

Cold Steel Kiridashi

Spyderco Flight

Camillus Bolt

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

How Long Did It Take?

How Did You Make It?

What Knife Do You Carry?

Are Your Prices Negotiable?

Choose Wisely

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.

Testing And Heat Treating

Authorship

Knifemaker Guarantees

Genre Specific

Knifemaking Mentors

Open Dialogue

For Ages, The Hamon Has Fascinated Makers And Knife Users Alike. Finicky, Beautiful, And Historic, The Hamon Continues To Wow.

How Do You Make A Hamon

The Visual Beauty Of The Hamon

The Correct Sheath Is Pivotal To The Complete Hunting Knife Package. A Good Sheath Can Keep Your Knives Safe And Sharp For Decades.

Style Of Sheaths

Tanning And Steel

Drainage And Inserts

How To Care For A Hunting Sheath

Many Top Knifemakers Are Keeping Historic Styles And Methods Of Making Knives Alive Today.

Gold Rush Knives

The Frog Knife

Kimball Style

Must Read Articles