Larger than a paring knife, smaller than a chef’s knife, the petty knife is right-sized for heavy-duty precision work.
Sometimes food preparation calls for something especially suited for close, even intricate, work. The petty knife was made for such employment.
While it may be a bit smaller in stature than other knives chefs regularly use, the petty knife makes short work of otherwise laborious functions.
Its name is derived from the French petit or small, but it’s big on getting the job done.
“Ask a dozen makers what the petty knife is and you’ll get a dozen different answers,” offered custom maker Ian Ronald of Elderslie, New South Wales, Australia. “But for me, I would define a petty knife as a culinary knife that is shorter than a chef’s knife but with a broader blade than a paring knife. I find a petty knife to be incredibly handy for household food preparation tasks, with a blade that is big enough to cut most food items but not so large as a full-sized chef’s knife, making it a little more versatile for ‘in hand’ food prep tasks such as cutting avocados and similar things. I have a few in my kitchen and they are the most commonly used knives in the knife block by far.”
The full-flat-ground blade of 18-year-old Aidan De Fazio’s petty knife is also slightly convex to preserve edge longevity and provide better food release. (Rod Hoare knife image)
Representative of Ronald’s petty knife work is a piece the price of which varies depending on materials chosen. With a 4.92-inch blade of Takefu Special stainless clad in san-mai fashion over V-Toku2 carbon steel, a desert ironwood handle and 9.25-inch overall length, the petty remains with the maker—and he uses it frequently.
“I designed this knife with quite clean lines and simple shapes, as it was intended to be a workhorse from the beginning,” Ian commented. “I used some premium materials but I didn’t add any embellishments or unnecessary details. I follow that aesthetic with most of the knives I make, preferring to let the form follow the function for the most part. This particular knife has a relatively deep blade with a reasonably high tip profile, which allows it to be used for [rocking/chopping] and push cuts despite its unassuming size.”
The steel combination on Ronald’s knife includes a carbon core with stainless cladding from the Takefu steel company of Japan. According to Ian, it is quite corrosion resistant and maintains a bright appearance, as the carbon steel core etches dark and develops character and patina with use. The blade grind is nearly flat with a slight convex slant near the edge, which is intended to create a fine cutting edge while maintaining toughness.
Precision Worker Petties
Sixty-year-old Australian Zohar Oshinsky has been making knives since he was 12 but became more serious about his work just a few years ago, becoming a full-time maker in the past five years. His petty knife features a 5.12-inch blade of M390 stainless damascus steel from Sanwa Special Steel of Japan, handle scales of stabilized red mallee burl timber—a hardwood from the York peninsula of South Australia—and an overall length of 10.04 inches.
Ian Ronald said a petty knife has a blade big enough to cut most food items but not so large as a full-sized chef’s knife, making it a little more versatile for avocados and similar things. Overall length of his Kitchen Petty: 9.25 inches. (Rod Hoare knife image)
“This petty knife is a smaller Japanese utility knife,” Zohar said, “generally used for precision knife work and fine slicing. My knives are often made to order, so the material is to the customer’s liking. The san-mai is an excellent steel for kitchen knives in this construction with a very high rust resistance and excellent edge retention. The damascus cladding is made from 67 layers of 410 and high nickel stainless.”
Oshinsky says his blade grind is shallow, convex, very thin and incredibly sharp. The blade’s soft cladding protects the core from shock and provides a small amount of flexibility.
Semi-Dark Theme Petty Knives
Aidan De Fazio is all of 18. He began his knifemaking journey at 11 and his progress has been steady. His petty knife includes a 4.5-inch, full-flat-ground blade of san-mai in 1084 clad carbon steel with nickel. The handle is stabilized spalted maple and ebony. The blade is slightly convex ground to preserve edge longevity and provide better food release. Overall length: 9 inches.
Charlie Ellis and BLADE Magazine Cutlery Hall-Of-Fame® member Steve Schwarzer collaborated on the Penrose Petite Chef. The 6-inch blade is Penrose tiling billet of 15N20 nickel-alloy steel in a pattern based on never-repeating Penrose tiling. Overall length: 11.75 inches. (SharpByCoop image)
“The petty knife is a small general-purpose knife,” Aidan explained. “It’s used for peeling, shaping, and slicing fruits and vegetables, chopping herbs, and making garnishes. I design everything by eye and chose this design because everything flowed nicely, and it just looked right. I was going for a semi-dark-themed knife, so to complement the dark san-mai I chose a piece of ebony with some heavily spalted maple for the handle.
“As this is a carbon steel knife, it will change color with use,” Aidan continued. “It’s a patina and it’s a good thing. It develops on carbon steel when exposed to air for extended periods of time or to acids for short periods of time. It is a type of oxidation that helps ward off the rust that eats away at steel and destroys your knife.” De Fazio recommends regular care for his petty knife, washing lightly with soap and water, avoiding abrasives that could scratch the patina, and then wiping dry for storage.
Light, Thin, Comfy Kitchen Tools
When Ross Arnold makes a petty knife—or any other style knife for kitchen use—he is leveraging experience to produce the most utilitarian design he can. “To me, a petty knife is an all-around food preparation knife for use when a larger knife is not necessary or possible,” he said. “In my earlier years, I worked in kitchens every night. I had a good idea of what worked and what was comfortable for me. This design was focused on being light, thin and comfortable. This resulted in a knife that weighs only 3.8 ounces, and the rounded choil and spine make it a pleasure to use all day every day.”
Andrew Lazarevic offers his petty knives in a selection of handle materials affixed with brass and carbon fiber pins. The blades are flat ground of AEB-L stainless steel. Overall lengths: approximately 9 inches each. (Rod Hoare image)
A resident of Glenalta, Australia, Arnold learned a great deal from custom maker Peter Bald early in his career. Ross finished his petty knife with a 5.91-inch blade of RWL-34 stainless steel and a handle of spalted sassafras wood. Overall length: 11.02 inches. His price for a similar knife: $390.
“I went with a traditional Japanese hexagonal handle purely for aesthetics,” he related. “As I use this knife primarily with a pinch grip, the handle shape does not have a massive impact on usability. That being said, it is still very comfortable to hold normally. I ground the blade with a plunge-less distal taper design. I came up with the grind design myself, but I’m sure it’s probably been done before. In my opinion, it is a solid performing grind as it gives the knife a light and flexible blade that isn’t super thick toward the tip.”
The petty knife is up to the challenge when a more intricate or tight kitchen job is at hand. The latest custom examples are affordable, provide good looks and perform with style. Dig in.
Editor’s note: All prices are in U.S. dollars and are according to the press time rate of exchange. Due to fluid market conditions, all are subject to change. Please check with the applicable maker for the latest in pricing.
Damascus steel is produced on a mass scale by some of the best in the business
Forging damascus steel for knives and ancillary products on a broad scale makes the beautiful and highly popular knife material readily accessible to the marketplace, and drives the creativity of custom and factory knifemakers. The availability of the resulting damascus knives is reaching new levels while bringing on innovation at the same time.
At Nichols Damascus, owner Chad Nichols touts his willingness to put together “laminates of any kind we can think of.” Nichols Damascus is busy with titanium and copper alloys, carbon and stainless steels.
“We have a pattern called Boomerang, and any configuration we make it in sells very well,” Chad commented, adding that he believes the popularity of the material has increased dramatically due to the internet and social media.
One of the latest patterns in Damasteel’s Dragon series, Svavner was used to create the blade steel for the Valyrian swords of the Targaryen family on HBO’s House of the Dragon. Brian Brown uses the steel here on one of his sporty folders. (Damasteel image)
He asserts that his forging operation charts its own course. “We’re just having a good time playing with hot stuff,” he smiled, “and we make a lot of core material. This is where we clad a homogeneous steel like Magna Cut with a damascus on the outside.”
WANTS & DESIRES MET A family-owned business situated just north of Sweden’s capital of Stockholm, Damasteel has focused for years on making top-quality steel for custom knifemakers, among other lines of business. “Over the last couple of years we have released our Dragon family of damascus patterns, culminating with the release of Svavner, which we launched alongside the release of HBO’s House of the Dragon,” noted owner and iron master Per Jarbelius. “They used our steel to create the Valyrian swords for the Targaryen family. It was an amazing project to get to work on.”
Damasteel has also just released Drakkar, a patterned steel in sheet form. It’s a first for the company and Jarbelius says it has been well received, emphasizing its nesting options with the ability to go from bar to sheet. A product line called Damacore has been available in DC18N and DC21R steel for a few years now and signaled a major expansion in the company’s repertoire. “It’s becoming even more popular as the number of san-mai offerings grows on the market,” Per noted. “We’re hoping to eventually be able to offer every pattern we do in both the DC18N and DC21R.”
Among the most popular Baker Forge & Tool damascus patterns are the copper and bronze laminates. A current hot one is Elite CopperMai, a damascus blend of copper, 1084 carbon steel and pure nickel over a solid core of 80CrV2 carbon steel that creates either a chevron or a ripple pattern (the latter here on a knife by JB Blades). (Baker Forge & Tool image)
Philosophically, Jarbelius relates that Damasteel has always paid attention to the wants and desires of its market. “We make patterned and un-patterned stainless steel, and our priorities have always been performance and beauty,” he explained. “Our artistry is core to our identity, and we want to make patterns that connect with users on an emotional level. Research and development is a big part of what we do. But hearing from makers is equally important; we value the opportunity to get feedback from people using our steel.”
Damasteel further connects with its user community each year in hosting the Damasteel Chef Invitational, showcasing the talents of top-class culinary knifemakers. The evening event provides a glimpse inside the shops and workspaces of incredibly talented artisans. “It’s absolutely world class,” Per concluded. “It’s a great learning experience, too, for people who have never used our products. They can ask questions and connect with our team as well.”
Forging An Industry
Vegas Forge concentrates on the production of high-quality damascus steel in a variety of exotic patterns and alloy combinations. “In 2016, we opened our shop in Las Vegas and quickly discovered that many of our potential customers were extremely hesitant to use damascus steel again due to some bad experiences they had had in the past with other damascus steel companies or makers,” explained owner Jesse Harber.
Damacore has been available in DC18N and DC21R steels for a few years now and signaled a major expansion in Damasteel’s repertoire. Persevere by Princeton Wong sports a 3.5-inch blade of Damacore DC18N handled in black Timascus™. Closed length: 4.625 inches. Princeton’s price for a similar knife: $2,700. (SharpByCoop image)
According to Harber, customer service is a watchword at Vegas Forge. Returning customer calls, handling inquiries, responding to emails, and delivering orders in a timely manner complete the full circle from outstanding damascus to overall satisfaction.
“Once we had solved that, we turned our focus on creating new, interesting patterns, new billet shapes and different alloy combinations,” Jesse advised. “In the beginning, we had 10 damascus patterns that we offered customers, all flat billets which are what knifemakers primarily use. Today, we offer 26 flat-billet damascus patterns. We offer most of those patterns in stainless or carbon damascus as well as titanium damascus and mokume gane. In addition, we have eight round-bar damascus patterns that we sell to customers who make things out of round bar like custom rings, pens, razors and such. We also make blocks of damascus in six different patterns for manufacturers of guns, golf putters and other products.”
The most recent patterns to emerge from Vegas Forge include Virus, Lytic, Forged Koa and one that is so recent that it remains unnamed thus far. Virus depicts what most people would think a virus looks like under a microscope—sporadic circles and lines that are “beautifully chaotic.” Lytic has the look of lytic DNA cycles under the microscope.
Baker Forge’s CopperMai was one of the first copper damascus steels to capture the imagination of custom knife enthusiasts. Bubba Crouch uses it on his trapper with an integral damascus frame and double-line antique Micarta® handle. Closed length: 4 inches. Bubba’s price for a similar knife: $3,000. (SharpByCoop image)
“Both of these patterns were created during the pandemic, so that’s where the inspiration—if you want to call it that—came from!” Harber laughed. “Forged Koa looks like a rare piece of twisted koa wood. It has multiple depths and contrasts to make it look like koa. It’s made by stacking 600-plus pieces of steel into a can and then lightly twisting it. As you grind into it, the pattern opens up and exposes all 600 layers, which is pretty spectacular.”
A few years ago, Vegas Forge began producing a titanium damascus that Harber dubbed Damtanium. The combination includes damascus with layers of Grade 2 and Grade 5 titanium. Almost simultaneously, the company introduced Zirmascus, an alloy of zirconium and titanium layers.
“We’re always trying out new steels in our san-mai damascus,” Jesse added. “San-mai is like damascus, but at the center of the damascus billet is a solid core. We have used Elmax, Magna Cut, and Nitro-V, to name a few.”
Jesse Harber said Vegas Forge uses its san-mai damascus to try out a number of stainless-steel cores, including Elmax, Magna Cut and Nitro-V, the latter shown here in bar form. (Vegas Forge image)
All this experimentation and innovation is the product of an expanding horizon and an imagination that isn’t inhibited or afraid to step into some uncharted territory. Harber thinks the future is bright at Vegas Forge, and the new product array has brought ever-increasing interest to the doorstep.
“In the beginning, the knife world kept us alive,” he declared. “We were getting no love from other industries. Today, the knife world still accounts for half our business. There isn’t another industry that we love more. We’ve attended hundreds of knife shows over the years, and there is no doubt that knife people are our people. We sell to a lot of custom knifemakers as well as larger manufacturers. I love the custom world, and I don’t even know how many custom knives we own at this point.”
Incorporating Copper And Bronze
Coy Baker founded Baker Forge & Tool in 2019 with a focus on damascus and san-mai. That bedrock quickly elevated to include non-ferrous laminate steels. Baker Forge is now an industry leader in copper and bronze laminated steels with dedicated distribution centers in the United States, Canada, the United Kingdom and Australia.
Chad Nichols Damascus offers a wide range of damascus patterns including the Intrepid on Luke Swenson’s six-blade stag sowbelly. Luke’s price for a similar knife: $4,000. (SharpByCoop image)
“Our current buying market is about 80 percent to the knifemaking industry, about a 50/50 split between retail custom makers and commercial knife companies,” Coy related. “We cut our teeth in the custom knifemaker market in the beginning and have slowly expanded into the commercial side. We aim to always be able to provide damascus steels to everyone from the hobby smith to the biggest knife companies.”
Among the most popular Baker Forge damascus patterns are the copper and bronze laminates. However, one-off custom runs generate real excitement. One trending steel group is Elite CopperMai, a damascus blend of copper, 1084 carbon steel, and pure nickel over a solid core of 80CrV2 carbon steel, creating either a ripple or chevron pattern.
“This layout is very appealing to customers due to the stark contrast between the layers and its ease of finishing,” Coy remarked. “We have been expanding into using new core steels in our laminates. Recently, we have used some Hitachi #2, which quickly became a crowd favorite for its edge-retention properties. Later this year we will be expanding into Apex Ultra steel and possibly some other stainless options.”
“Forged Koa looks like a rare piece of twisted koa wood,” Vegas Forge’s Jesse Harber explained. “It’s made by stacking 600-plus pieces of steel into a can and then lightly twisting it. As you grind into it, the pattern opens up and exposes all 600 layers, which is pretty spectacular. (Vegas Forge image)
This quick look inside the damascus steel industry offers a glimpse of past, present, and future. The tried and true, the cutting edge, and what will be are coming together to keep pattern steels fresh and exciting among makers, users and then the wider buying market.
They complement one another in an easy, seamless union—blade and handle. One without the other means the knife is incomplete, or it isn’t a knife at all.
Along with the search for proper blade steel, appropriate handle material is the second critical element in the presentation, form, and function of the knife itself. Natural and synthetic handles play their roles. They bring utility and aesthetics to the package, and the maker’s choice sets the tone. Availability, cost, and maker’s preference fit into the equation when choosing the right handle material. And then, of course, the intended knife use weighs heavily.
In the end, it’s the eye of the artist that drives the visual element, and the job to be done by the user that directs his or her choice. The handle makes the knife complete.
At Masecraft Supply Company, co-owner Chris Hartman sees the supplier’s role as the facilitator. Never interfering with the artist’s concept, he views Masecraft as a provider of the palette. “We don’t advise what to use,” he reasons. “We are not big fans of, ‘You know what you should do …’ or telling a customer what to use, but more in supplying a wide variety of options to choose from. We are always willing to answer questions about our materials a customer may have, but it’s just not a good idea to advise what is right for them. That’s the maker’s choice.”
Knife Handle Material Trends
With that said, where is the market headed today? What does the landscape look like in terms of availability, trends, and timing?
“The majority seem to be sticking with composite laminates like G-10, canvas and linen Micarta, and Richlite,” Hartman says. “Natural materials like bone and horn seem to be in a continuing decline. Exotic woods still do well, but availability and pricing have become issues over the last two years.”
John Cammenga, vice president of operations at White River Knife & Tool, Inc., deals primarily in synthetic knife handle materials. He indicates that knifemakers who build hard-use models often lean toward durable synthetic handles and that the laminate trend holds up there as well, particularly with material available in a variety of colors.
This Northfield UN-X-LD knife from Great Eastern Cutlery (GEC), which registered the trademark and uses it on premium GEC pocketknives, features ALVS (acrylic laminated veneer shell) handle scales from Masecraft Supply Company. The dazzling shell veneer consists of real shell and high-impact acrylic laminated together within the sheet.
“The majority of our handle materials are synthetic,” Cammenga says, “and this is primarily due to stability and longevity. But many look great as well. Multi-color layers of fabric bonded with phenolic or polyester resin can have the look of wood, yet last much longer. Additionally, many of these are tackier when wet, giving the user additional hand purchase in tough weather or when processing game. Carbon fiber and G-10 are available in an ever-expanding array of colors and patterns and almost bulletproof when it comes to wear and tear.”
Choosing Knife Handle Material
The choice of materials, Cammenga explains, comes directly down to the proposed use of the knife. For hunting, fishing, camping or bushcraft, White River almost always recommends synthetic handle material. However, John still gives a nod to personal preference. Some users simply must have a natural handle, and the aesthetic factor comes into play there.
“It’s hard to beat the beauty of a highly figured burl!” he comments. “Some, such as desert ironwood burl, are not only beautiful but also extremely tough.”
Tom Krein is an experienced custom knifemaker who worked for the great Bob Dozier and ran the custom shop for A.G. Russell Knives before embarking on his own venture during 30 years in the business. Making small utility and hunting knives primarily, he agrees that handle material choice relates to a few simple concepts.
Tom Krein’s “Mako” model features a Dion Damascus san mai steel blade with a copper-color stag handle.
“It comes down to the customer’s needs, willingness to care for the knife, aesthetics, and budget,” Krein relates. “Natural materials should hold up nicely with proper care assuming everything goes according to plan. Sometimes stuff happens—a knife falls into a sink of water, or it starts to rain while hunting, or your knife gets lost in the yard for a week. Synthetics hold up better when stuff goes south. For customers, I recommend getting what you like and learning how to take care of it. For knifemakers, I suggest picking the mind of another maker who uses the material you want so you can learn how to use it. Overall, we are a helpful bunch of people.”
Traditional handle materials and their innovative, eye-popping counterparts coexist at Santa Fe Stoneworks, a provider of materials to the art knife market since 1978. Santa Fe not only affixes those materials to its own knives, but also provides the service for Spyderco and Kershaw while doing private label work as well.
President Bill Wirtel leads the family business, and the company’s roster of natural handle materials includes the best of the best. “We work with factory knives and apply gemstones, exotic woods, shells like gold- and black-lip pearl, and fossils such as woolly mammoth tooth, tusk, bone, and petrified dinosaur bone,” he remarks.
As for Santa Fe’s synthetics, Fordite, a car paint overspray, Surfite surfboard overspray, and a cholla cactus-like material that is made in the shop have found favor with makers and buyers alike.
Material Mash Up
“We are looking for design and color, so we mix natural with manmade stone and epoxies,” Wirtel explains. “Our fossils are all stabilized so they work great for a handle material. We see hybrid materials gaining popularity as they provide the best of both natural and composite materials. Fordite and Surfite have been selling well. Our synthetic cholla cactus line that we make here, stabilizing it with different colored epoxies, is becoming a big seller as well. We also have mammoth tusk fusion. This is stabilized fragments of mammoth ivory that are fused together under immense pressure. The result is a beautiful and hard composite that is densely packed with mammoth ivory.”
Fordite car paint handle material adds a fun flair to this series of Santa Fe Stoneworks 3-inch lock-back folders with damascus blades.
Fordite is an interesting option that comes from a surprising source. Also known as Detroit agate or motor agate, the material consists of pre-1985 automobile paint that hardened sufficiently to be cut and polished. It formed from enamel paint slag, which built up over the years in layers on the tracks and skids where cars were hand spray-painted. The buildup hardened in ovens intended to cure the paint on car bodies. After so much of that buildup, the brightly colored and layered paint had to be removed. Its allure caught on with some autoworkers who brought pieces home with them. From there, the beautiful Fordite material, which can be cut and polished into a spectacular look, found its way onto knife handles.
The Masecraft perspective is somewhat dictated by availability. “Sambar stag is not coming back,” Hartman stresses. “It has been banned by India for export since sometime around 2005, I believe, so that’s almost 20 years now, and I see no chance of this ever-changing. What’s still available out there now is it. Game over!”
“Black-lip, gold, and white mother-of-pearl all are still available,” he adds, “just not in larger size pieces as they were 20-50 years ago. They are overharvested and not as healthy as before. Demand for shell is down overall. It is not very tactical, and we seem to be in a tactical and bushcraft market for the last two decades. Shell tended to be more of a gentleman’s pocketknife material, so it’s not exactly the big trend right now.”
This Santa Fe Stoneworks El Rey model is handled in a spectacular turquoise/abalone/bronze hybrid gemstone and includes a mother-of-pearl button inlay.
“Many of the companies that used a lot of shell on knives are gone or simply don’t have the people who know how to work with it anymore,” Hartman adds. “Shell is still one of the most beautiful materials ever, so much so that it seems to be the hardest to reproduce in any type of synthetic alternative that even comes close to its natural beauty. We can come close, but there is still nothing like the real thing.”
Krein sees a swing toward synthetics and higher-end natural materials as well. “Right now, there is a huge push to find and use vintage Micartas,” he relates. “I’ve also seen G-10 usage go up a ton over the years. G-10 holds up to use extremely well, is relatively inexpensive, and machines and grinds easily. I’ve also noticed quite a few new businesses that specialize in exotic stabilized woods. Stag has always been a desired and quality knifemaking material, and with exceptional stag being much harder to find, it is even more desirable, particularly when done [harvested and finished] properly.”
Watching the high-end polymer Ultem begin to trend as a new synthetic handle material has been interesting for Krein, and his affinity for giraffe bone has not waned. It’s something he calls the “latest real pickup in natural materials.”
White River Knife & Tool purchases synthetic material made in the USA, so supply chain issues have not been a problem. The one material the company imports, cork, has increased in price, but its supply has been uninterrupted. White River’s Traditional Fillet knife incorporates a handle of imported cork for easy cleanup and a tight grip in slippery conditions.
“I often see new makers using very exotic materials,” Krein concludes. “These materials are costly and often not used anywhere close to their potential. I recommend that new makers learn to use simpler materials like Micarta to their full potential. This leaves funds available for other materials and equipment while allowing a new maker to develop their skills. Just because a knife has expensive materials doesn’t make it better or more interesting to me. It’s developing the skills to make simple materials look elegant that I appreciate.”
Those Hybrid Moments
Hybrid handle material is on the rise, and Cammenga is pleased with the growing popularity of marbled synthetics. “Right now, there is strong demand,” he notes. “This is true in both cloth/resin laminates and carbon-fiber/resin laminates. For those who want natural wood, bone or antler, acrylic ‘stabilized’ scales have been popular for quite some time. They provide the user with a natural material, which has been made tougher by introducing acrylic resin into the fibers. Currently the marbled look is in with almost all materials, but we have made several knife models using G-10 and rubber combinations, as well as others from polyester cloth and resins.”
Masecraft is keeping a close eye on the development of new materials, but the course is charted by ingenuity rather than discovery. “As far as new natural materials, that’s going to be extremely rare,” Hartman observes. “The earth is not really producing anything new, so unless we have not discovered it yet, the odds are low. More likely, some natural materials will disappear and become endangered, banned, or extinct. Human history tells us the availability of natural material will decrease while prices increase. You will see more hybrids of natural and synthetic combinations, and all kinds of new synthetics will continue to be introduced.”
Knifemaker Tom Krein says there’s a huge push to find and use vintage Micarta, such as on the handle of his pocket bowie model.
Supply often dictates how well demand is satisfied, and the inherent scarcity of some handle materials has been exacerbated by supply chain concerns in areas. Even as the COVID-19 pandemic has eased, the resilience of the supply chain remains an open question. Some suppliers and makers have faced shortages of stock items, while others have adapted, moved on to other, more readily available options, or simply been patient.
“I have been sourcing materials for over 44 years, and most of our suppliers know us and what we want,” Wirtel relates. “Obviously, we’ve had supply chain issues, but we have been able to work around them. We make our product to order, so we range in delivery time from a few weeks to a few months.”
Krein is positive regarding availability, saying, “There have been slight wait times for some synthetics, particularly Micarta, during the pandemic, but it seems like everything is back on track here. There has and will continue to be more demand for quality stag than availability. I’ve seen a bit less of quality exotic stabilized woods like exhibition-grade ironwood and Koa.”
While the supply chain phenomenon has been universal, Hartman is pragmatic. Going with the flow makes the Masecraft operation run as smoothly as possible. “There are supply chain issues with everything globally,” he observes. “I can’t think of anything on the planet that hasn’t been affected in some way, shape or form and that doesn’t have a price increase or isn’t in short supply, and it’s all things, countries, and markets.”
Dozier Knives produced this fixed blade with a Richlite handle from Masecraft Supply Company composed of approximately 65% Forest Stewardship Council (FSC)®-certified recycled paper and 35% phenolic resin.
“If you don’t have the chip, you can’t produce the car,” Hartman says. “If you don’t have OD Green dye, you can’t make OD Green G-10. If one key part is missing due to supply chain issues, the product simply cannot be made, and that is affecting all things.”
Staying domestic has been a problem solver for White River Knife & Tool, according to Cammenga. “Because White River purchases synthetic material made within the U.S., our supply chain has not been a problem. The one material we do import, cork, has increased in price, but our supply has been uninterrupted.”
Considering the handle-blade combination that makes the knife come together for the spectrum of customers and users, today’s material options appear more diverse than ever. Although some shortages in natural materials may never be plentiful again, fusions of natural and synthetic options open the door to creativity. And the imagination is always fertile ground for innovation.
There are many names elevating custom knifemaking to the heights it enjoys today, but none loom larger than A.G. Russell, Bill Moran and Bob Loveless.
Nobody would question the straight-up fact that A.G. Russell, Bill Moran, and Bob Loveless contributed mightily to making the knife industry in the United States, and indeed worldwide, what it is today.
Their contributions to the growth and prosperity of knife manufacturers and their partners in the custom knifemaking world are well known to many, but during BLADE®’s 50th year a moment to recognize their achievements and their contributions is appropriate.
Of course, there are others whose involvement and support have had a positive impact through the decades, but Russell, Moran and Loveless—all long-time members of the BLADE Magazine Cutlery Hall Of Fame®—are the core triumvirate that ushered the modern knife industry into its golden age.
Bill Moran
Bill Moran
“Moran gets credit at the top of the list because of the founding of the ABS [American Bladesmith Society],” related Cutlery Hall-Of-Famer Bruce Voyles, past publisher of BLADE and, along with Cutlery Hall-Of-Famer Jim Parker, co-founder of the BLADE Show. “That was followed by the development of the hammer-ins and the [Bill Moran School of Bladesmithing].” As he noted, the ABS was a team effort that included Cutlery Hall-Of-Famer B.R. Hughes, who was an educator.
“Bill was a renaissance man if there ever was one,” Voyles continued, “but he had the best publicist in the knife business in the form of B.R. Hughes. So, as a team they absolutely rank at the top. B.R. had the good sense to know that Bill Moran was the person to represent the ABS, and Bill was a leader in his own right, but without B.R. there may not have been a bladesmithing school.”
The ST-23 is one of if not the most coveted of Bill Moran knives. (Francesco Pachi image)
Hughes, now 91 and the elder statesman of knife writers, remembers his work with Moran and gives credit to Moran’s foresight at the forge as well. “Bill Moran saved bladesmithing with his reintroduction of damascus in Kansas City in 1973,” Hughes observed. “And when we formed the ABS in 1976, the only goal was to preserve the art of the forged blade. There were three people making damascus [in America] then: Moran, Bill Bagwell and Don Hastings. They met in Bagwell’s backyard and shop after the Guild met in Dallas. That’s how the ABS got started. There were four active members, including me named as a director. So, it started with four, and now there are 3,000 members. I’m still on the board, and now the main thing for me is not to go to sleep during the meetings!”
Bob Loveless:
Bob Loveless
Loveless stands out as a custom knifemaker and designer, as well as a pioneer in the organization of custom knifemakers into a cohesive group, setting standards, discussing issues, and assisting the growth and prosperity of many in later years. Loveless stands apart in his work, organizational input and one-of-a-kind personality.
Hughes recalls his introduction to Loveless courtesy of knife industry titan A.G. Russell. The men sat down at a diner, ate a meal together and Loveless spread some knives on the table. From there, Hughes authored an article about the California custom maker that appeared in GUNsport Magazine.
“Bob and I stayed in contact,” Hughes remembered, “and around that time Bo Randall was probably the most copied [of] knifemakers. Then, when Loveless [redesigned and repopularized] the tapered tang, he became the most copied knifemaker in America. He made that a standard and was very popular.” B.R. added that Loveless was also a good salesman and promoter, and his knives were selling for what were high prices even then.
Voyles said he appreciates the pure genius of Loveless to this day. “He was a phenomenally intelligent person,” he opined. “With Bob, they used to say that you loved him or you hated him. The thing about Bob was that what brought him into prominence was that he was the first person with an art background to make knives. He had gone to design school and made a handsome knife that was aesthetically pleasing, and noted that the knife’s top line should always fit a French curve.
Bob Loveless helped celebrate 50 years of knifemaking in 2004 with this hunter set complete with engraving by C.J. Cai and a couple of autographed Loveless sheaths. (SharpByCoop image)
“Loveless made a good knife and a distinctive knife. Everybody started copying that, and the whole design of knives changed. Bob was also able to sum up a complex subject in one sentence. He was infinitely quotable, which meant outdoor writers loved him.”
According to Cutlery Hall-Of-Famer Dan Delavan, Loveless was a unique character in the knife world. “Loveless was a genius in the whole industry,” Dan related, “and underrated. Because of his antics, some people didn’t think that much of him at times, but Bob was super smart. He knew things would happen before they happened. His drop point was modernized and refined, and he helped a lot of people get started. A lot of them emulated his style.”
A.G. Russell
A.G. Russell
Universally, the contribution that A.G. Russell made to the knife industry is acknowledged as tremendous. He brought people together, tried to build consensus, established the liaison between custom makers and factories that produced magnificent collaborations, developed a robust catalog mail order business that remains the envy of any businessperson, and is recalled as a true gentleman—whew!
Hughes remembers Russell not only for his introduction to Loveless, but also for another moment that proved to be a highlight. “A.G. told me there was a bladesmith in Maryland named Bill Moran and said I needed to get in touch with him,” B.R. smiled. “I kept in touch with Bill. He was always laid back and reserved and shunned a lot of publicity. I wrote a book about him in 1995 called Master of the Forge. We spent several days with Bill and Margaret that fall, Bill and I in the back seat of the car talking and Margaret and Carolyn in the front seat talking. Carolyn has been with me through all these years. I married her in 1957, and she has been the editor of American Bladesmith Magazine now for 20 years.”
Voyles remembers Russell as “the one that lit the fuse and promoted the Knifemakers’ Guild for many years and almost singlehandedly created an aftermarket for handmade knives.” Imagine the foresight, power of persuasion and business acumen that could exert such influence in the knife industry as a whole. It’s safe to say that A.G. was the catalyst for so much of the positive interaction that has taken place in the knife world over the past 50-plus years. He bought tables at gun shows for knifemakers to display their wares back when there were no knife shows to attend. He supported knifemakers with his heart, head and pocketbook.
“Knives were his passion,” Cutlery Hall-Of-Famer Goldie Russell said in remembering her husband’s dedication. “He was determined to know everything there was to know about knives.”
A.G. Russell Knives not only is a landmark in the knife industry, it is in its hometown of Rogers, Arkansas, as well.
Goldie recalls her husband’s hard work that made things happen. “By June 1970, A.G. had reserved a block of tables at the Wanenmacher Gun Show in Tulsa and invited the makers he knew to exhibit and sell their knives,” she commented. “I believe it was at this show that he introduced the idea of the Knifemakers’ Guild. A.G. told me that two knifemakers that were on board from the beginning were [Cutlery Hall Of Famer] Dan Dennehy and Bob Loveless. At that show they decided to form the Guild, and there were 11 founding members.”
A.G. secured more tables at the Houston gun show in 1971, and more knifemakers joined the Guild. The following year, the first annual Guild Show and meeting were held in Kansas City, and the membership grew steadily.
In addition to his leadership in the formation of the Guild, A.G. was a visionary business owner. He created the first mail-order company that focused strictly on knives. Until that time, consumers could leaf through the pages of the Sears & Roebuck or Montgomery Ward catalogs and hope they found something. But Russell changed the game in 1964 when he started A.G. Russell Knives with the sale of Arkansas whetstones.
Goldie remembers another seismic achievement that her late husband was directly involved in—the establishment of the first high-profile knife collaboration. “He arranged for Bob Loveless to meet with Schrade Cutlery to produce a modern fixed-blade knife,” she commented, “and the result was the Schrade Loveless Hunter. I recently read something that said [Cutlery Hall-Of-Famer] Uncle Henry Baer facilitated that collaboration. I’m not sure how involved Henry Baer was, but if you look at what was happening, it was obvious that it was A.G. Russell who had direct involvement with Schrade and Bob Loveless.”
A.G. is also known for his innovative work with Schrade to incorporate the Knife Collectors Club, the first organization of its kind. “This was A.G.’s concept,” Goldie observed. “His idea was to create serial-numbered commemorative folders, which would be offered to club members. A.G. would select the knife, develop the project and sell the knives. Schrade would make the knives.”
Goldie personally witnessed her husband’s investment of time and treasure to promote knives from every angle. He supplied Cutlery Hall-Of-Famer Blackie Collins with his mailing list in the early 1970s so that the earliest issues of American Blade, which would eventually become BLADE, had somewhere to go. He supported new manufacturing brands during the 1980s. And he was willing to provide a frank and honest assessment of a knifemaker’s work when asked to do so.
A.G.’s wisdom came shining through when he discussed with Arkansas knifemaker/Cutlery Hall-Of-Famer Jimmy Lile why the two had not become closer friends. Goldie noted that Lile said, “A.G., when I could not do better, you told someone that my knives were not very good.” She added, “A.G. said that as soon as Jimmy expressed that, he realized what he had said. After that Jimmy and A.G. were friends.”
A.G. offered his advice when asked. Goldie remembers a meeting with Stuart Leatherman and his brother, Cutlery Hall-Of-Famer Tim Leatherman, regarding the direction of the composition of the Leatherman multi-tool. “I was in that meeting,” she related. “A.G.’s advice was to upgrade the blade steel and make handles of titanium. His other advice was to find a way to make the handles easier on the hand when using the pliers. The Leatherman Charge and Charge Ti quickly followed that meeting.”
BLADE Magazine Cutlery Hall-Of-Fame® members (from left) Ron Lake, Goldie Russell and A.G. Russell share thoughts at the A.G. Russell Knives booth during a past BLADE Show. (A.G. Russell Knives image)
Among other contributions that Goldie and also Phil Gibbs, knife designer at A.G. Russell Knives, remember regarding A.G. are his design innovations, particularly as the first to create folders with handle materials other than metal that did not include metal liners, and in the human element, his willingness to take time with everyone. For example, one day a couple stopped by the A.G. Russell Knives retail store in Rogers, Arkansas. Goldie was asked to step over to meet them. They were unaware of A.G.’s passing until they had seen his portrait in the entryway, and they wanted to express their sympathy.
“They said they had often come into the store and spent time with A.G. talking about knives and knife history,” Goldie noted. “With tears in his eyes, the gentleman said, ‘Mrs. Russell, we are nobody, but he treated us like we were somebody.’”
Delavan, co-owner of the old Plaza Cutlery retail knife store in Costa Mesa, California, and now of plazacutlery.com, put A.G.’s impact into perspective from a professional standpoint. “We both had businesses and a lot in common,” he reflected. “A.G. was a wealth of knowledge. He seemed to know everyone and everything, and I looked up to him.”
No doubt, there are many other individuals whose contributions to the growth, expansion, and thriving entity that the knife industry is today are worthy of praise and recognition. These three—Russell, Moran and Loveless—are, however, more than just a good start. They are giants among other giants, and their accomplishments will continue to resonate across the decades.
Stepping away from standard issues, combat veterans recount the off-beat military knives they used day-to-day during their service.
Since BLADE® Magazine went to press for the first time 50 years ago, there have been wars and rumors of wars. Even in peacetime, the U.S. military has stood ready in defense of freedom around the world.
When service men and women have deployed into harm’s way through the years, their knives of choice have been by their side, sheathed or strapped, buckled or pocketed, or carried in a duffle bag. From Vietnam to Iraq and Afghanistan, service personnel have taken their chosen tools abroad and put them to use for a variety of chores.
Kim Breed
Fer de Lance from Pacific Cutlery
Ka-Bar-type fighting/utility fixed blade
Swiss Army knife with tweezers
Cold Steel SRK
Randall Models 1 and 14
BLADE field editor/knifemaker Kim Breed spent nearly two decades in the Army, serving with the 10th and then 5th Special Forces Groups. His experience in the Gulf War included a mixed bag of available knives for anything that was needed.
BLADE® field editor/knifemaker Kim Breed said his experience with military knives in the Gulf War included a mixed bag, including the Fer de Lance designed by David Steele for the now-defunct Pacific Cutlery. Pacific Cutlery was owned and operated by BLADE Magazine Cutlery Hall-Of-Fame® member Les de Asis, who went on to found Benchmade Knife Co. (image of Fer de Lance courtesy of Arizona Custom Knives)
“I carried the Fer de Lance designed by David Steel and produced by Pacific Cutlery,” he said. “It’s a double-edged fighter and I carried it almost my whole career. It’s light in the hand and has a big enough blade to do the job. Two edges meant I had one sharp for heavy duty and the other for finer stuff. Plus, the locals would freak out when I brought out a double-edged knife. It was good psychological warfare.”
Along with the Fer de Lance strapped to his back, Breed also had a Swiss Army knife at his side and an Arkansas toothpick.
An unexpected military knife: Kim Breed indicated Swiss Army knives were especially handy in Somalia for removing stickers and thorns with the tweezers.
“It wasn’t the real big Arkansas toothpick,” he remembered. “It was a smaller dagger with an aluminum handle. A lot of guys would buy the Ka-Bar because it was a good knife—but it was also cheap. When we got bored, we would throw knives, betting for a cigarette, chocolate bar or pound cake. The Ka-Bar might break but the aluminum-handle dagger wouldn’t.”
Speaking of the Ka-Bar*, it is among the top five knives of Breed’s Gulf War assessment, along with the Cold Steel SRK, Swiss Army knife, Randall Models 1 and 14 and the Buck 110. Each earned a bit of praise from the veteran.
The Buck 110 folder was widely available at the local PX and had good blade steel and easy carry for assorted cutting jobs.
The Ka-Bar has stood the test of time, and its generational tie to earlier combat deployments of family members from World War II forward may have been an influence, but for the most part, there was value, performance and availability to spare with the iconic fixed blade.
“It was in all the PXs,” Kim added. “You could get one for $12 and it worked pretty good, but if you broke one now and then you could have two or three around.”
Kim Breed said the Cold Steel SRK was a favorite among the troops, citing its molded Kraton handle in particular for praise.
Breed says the SRK was a favorite with its molded Kraton handle, while the Swiss Army was especially handy in Somalia for removing stickers and thorns with the tweezers. The Randalls were another legacy play. They were expensive knives but the troops’ fathers and grandfathers had carried them, so they were passed along to the sons and grandsons. The Buck 110 folder was also available at the local PX and had good blade steel and was easy to carry.
Jack Stottlemire
Ka-Bar-type fighting/utility fixed blade
Benchmade Stryker
Air Force/jet pilot survival knife
Custom Bob Horrigan
Randall Models 1 and 14
Knifemaker Jack Stottlemire served with the United States Marine Corps and the Army for a total of 27 years, with 14 combat deployments. He saw action in Operation Just Cause in Panama, Desert Shield and Desert Storm, the air war in Bosnia, Kosovo, Afghanistan and Iraq. The Marine service was first and he saw all his combat duty with the Army, retiring as a sergeant major with Special Operations. Like Breed, he stresses that knives were used for camp chores, prying, slicing and such.
Randalls were expensive but fathers and grandfathers had carried them, so they were passed along to the sons and grandsons. Developed in the mid-1950s, the Randall Model 14 Attack gained fame as a military knife during the Vietnam War. (Dan Clinton image)
“Using a knife in combat to stab somebody is pretty much bull,” he declared. “I don’t know anybody that used a knife for that in all my years. But if you’re in a helicopter crash and you need to cut strings or get somebody else out of the wreckage, that’s more realistic.”
Again, the Ka-Bar makes an appearance in the top five knives from his experiences, particularly in the desert environment. Stottlemire’s top five knives of the Iraq and Afghanistan wars include a custom Bob Horrigan** piece with a green Micarta® handle and a 5.5-inch blade of 440C stainless steel. “Bob and I were in the same squadron together and he was a real hero,” Jack offered.
Les George said he’s “pretty sure” his Ka-Bar saw action in the Vietnam War, the Korean War and possibly even World War II. The last time the knife was in combat operations was when George saw active duty in the Iraq War in 2005. (Les George’s knife and image)
“The Ka-Bar is everywhere and I carried mine from the time I was in the Marines, and still have it 40 years later,” he continued. “I remember getting them for $25 or $35 and using them to pry and hammer and to open MREs [Meals Ready to Eat] and ammo boxes. That’s what we used them for 99 percent of the time.”
The famed Randall had stayed around as well, again identified as a legacy knife handed down from one generation to another. As for folders, Jack’s units were issued the Benchmade Stryker. “It was common to have a lot of Benchmade autos and one-hand flippers, and there were Gerbers in the same category,” he commented. “I always carried my auto on my vest front for easy access in case I needed to cut a bandage or something like that.
Air Force survival knife
“Then we also had the Air Force survival knife. It was a jump master knife that looked like a little Ka-Bar with a stacked leather handle and a short bowie blade. A lot of guys carried more than one knife. They usually had a folder stuffed in their vest or pocket and a fixed blade on their chest next to their magazine pouches. That was for easy access. It’s hard to get to your stuff unless it’s on the vest, especially when you’re in a vehicle or helicopter.”
Les George
Custom EOD knife (self-made)
M11 EOD knives by Lan-Cay
Gerber multi-tools/Leatherman Wave
Benchmade Stryker and AFO
CRKT M16
Knifemaker Les George served with the U.S. Marines in explosive ordnance disposal (EOD) and carried a knife specifically for EOD use. “I actually made my own EOD knife in Iraq,” he remarked. “It was the first in a series that would become the M12 EOD knife that is currently listed as an option for USMC EOD units to purchase and use.”
As for folder military knives, Jack Stottlemire’s units were issued the Benchmade Stryker, an Allen Elishewitz design that debuted in the late 1990s.
Among the other knives that Les saw regularly in Iraq were the M11 EOD knives by Lan-Cay, Gerber multi-tools, Benchmade Stryker and AFO, and the Columbia River Knife & Tool M-16.
“The CRKTs were available at the PX and the other knives were issued to the Marines by unit,” George recalled. “Obviously, the Ontario bayonet was common for that reason. I had my large fixed blade that I used to probe for and dig up IEDs [improvised explosive devices] and UXOs [unexploded ordnance]. It was a brute force tool, the very epitome of a sharpened pry bar. I had a small Benchmade fixed blade that I had bolted to my pistol holster. I used it to cut tape or prepare demolition charges, and all the cutting utility I needed was done with that knife. I also carried a Leatherman Wave multi-tool. I liked the Wave over the issued Gerber because it closed up smaller, and I could access the blade without opening the tool.”
Thanks to their versatility and affordability, multi-tools have been popular with the troops since Leatherman Tool Group introduced its original multi-tool in 1982. Les George carried the Leatherman Wave because it closed up smaller and he could access the blade without opening the tool. The Wave+ is a Wave descendant.
Les chose his knives based on the situations he might find himself in during deployments. “The big and small fixed blades had their niche, while the multi-tool was available as a catchall. With the kind of war that I saw, there was not much thought of knives used outside of tools, and for me cost was not a factor. I would have spent about whatever the price to get the knives I wanted.”
Top 5 Knives From The Vietnam War
Ka-Bar-type fighting/utility fixed blade
SOG fixed blade
M7 bayonet
Air Force/jet pilot survival knife
MIL-K
After studying the Vietnam War era and the knives that were most often found during that period in Southeast Asia, Frank Trzaska has come up with his top five from that timeframe. His list includes—you guessed it—the Ka-Bar, which sits at the top. “The U.S. Fighting/Utility knife, the Mark 2, the Ka-Bar, call it whatever you will, but to me it is America’s fighting knife—adopted in 1942 and still serving our troops to this day,” he smiled.
M7 Bayonet was a common ‘Nam era military knife.
Others topping Frank’s list include the original SOG, which he calls “a very hard-to-find knife made in limited numbers for the super-secret Studies and Observation Group [SOG], Green Berets that went out into the field to locate the enemy—Recon.”
Frank has also found the M7 bayonet, designed to fit the M16 rifle, to have been in regular use. “It was another piece in succession that was originally adapted from the M3 trench knife of World War II fame,” he noted. “The M3, M4, M5, M6 and M7 all used the same blade profile.”
MIL-K was a handy addition to a soldier’s kit.
The Jet Pilot Survival knife, aka Air Force survival knife, and a small all-metal pocketknife called the MIL-K were frequently seen with troops in Vietnam, Frank noted. “The Jet Pilot Survival knife was an iconic knife of the Vietnam era, and it was shown in photographs everywhere,” he related. “Although the name was ‘Jet Pilot,’ it was seen on ground pounders just as often. The MIL-K was the perfect all-purpose pocketknife that, as an extra, is dated so you can collect all the years and at a somewhat low price.”
Trzaska has spoken with troops all over the world, and the multi-tool has surged to the forefront among military personnel deployed these days, but he also quickly adds that the Ka-Bar is still a favorite. Given the salaries of enlisted men, he speculates that cost was always a factor in the purchase of a Vietnam-era knife.
Final Cut
Times change but for soldiers through the last half century/publication life of BLADE, knife uses have stayed the same in many ways. “Almost everyone in Vietnam carried two knives, a pocketknife and a fixed blade, and if you count the bayonet, it would be three,” Frank observed. “They were used mostly for opening meals, mail and boxes. A pocketknife was handy but a fixed blade on your harness was meant for fighting. Along with your bayonet, they were weapons of last resort.”
From the more expensive models to everyday carry in the field, military personnel in Vietnam had their pick. “The Randalls were the knives everybody wanted,” Trzaska said, “but few had them. They became a status symbol of a professional. Young guys also liked big knives until they had to carry all that extra weight and never use them. Then the small knife was the king. Most knives of the era were common steel and would rust easily. Stainless steel was a big plus and found its way into knife production over time.”
Through the years, BLADE has published many accounts of knives in the hands of military personnel deployed around the globe. Since the early 1970s, these stories have brought valuable information to readers regarding performance, personality and collectability. That trend will continue into the future.
*As Frank Trzaska notes, no matter whether you call it the USMC fighting/utility knife, Mark 2, Ka-Bar or what have you, the fixed blade with the leather-washer handle and clip-point blade made by several different companies that first appeared in 1942 and did yeoman’s duty throughout World War II remains a U.S. military icon.
**Robert “Bob” Horrigan, a member of U.S. Army Special Operations Command, was killed in action in Iraq on June 17, 2005. His twin brother is award-winning ABS master smith John Horrigan.
Top custom makers from around the world showcase rarefied knives at the annual ABS auction.
Each year when the BLADE Show rolls into Atlanta, the American Bladesmith Society (ABS) holds its auction of selected knives forged by ABS master and journeyman smiths. Here is a gander at the knives that crossed the block at the exclusive auction! ABS master smith and instructor Brion Tomberlin serves as a director and secretary of the society, and he handles the ABS auction from start to finish.
“I choose the smiths, mainly from the recent journeyman and master smiths who have gotten their stamps that year,” he explained, “and I also ask other master smiths and journeyman smiths, basically whoever I can get to say yes! The proceeds go to the general fund of the ABS.”
Support for the ongoing educational activities and programs of the ABS is vital to the health and future of the craft. Participants are honored to be involved and have their handiwork sold at auction by ABS director Robert Wilson. For years, Wilson has served as the event’s auctioneer, and Tomberlin said he likes to go with experience. For this year’s auction, several outstanding knives, both by American and international bladesmiths, will be available.
International ABS Journeyman Smith Knife—Jeremy Yelle: Gentleman’s Bowie
Jeremy Yelle, a 22-year-old bladesmith from Sherbrooke, Quebec, Canada, is excited to be involved and to offer one of two international journeyman smith knife entries. “I truly love the ABS and what it does,” he said, “and I felt like giving it my first-ever journeyman smith piece was the honorable thing to do.
“I personally love the antique and classic look of older knives, which is why I chose to make a coffin-handle bowie. The handle is a coffin shape, which happens to be a partial takedown. It has several lineup pins, my textured and fire etched 416 stainless steel fittings and a 416 textured spacer.”
Jeremy has been making knives for about five years, and his mosaic damascus blade was inspired by the process he learned from ABS master smith David Lisch. The handle of Jeremy’s gentleman’s bowie is particularly noteworthy with Canadian maple burl from Maritime Knife Supply that he stabilized and dyed. The knife is completed by a protective case.
International ABS Journeyman Smith Knife Maker: Jeremy Yelle Knife name: Gentleman’s Bowie Blade length: 8.625 inches Blade material: Mosaic damascus of 15N20 nickel alloy and 1084 carbon steels Handle material: Canadian maple burl Overall length: 13.5 inches
International ABS Journeyman Smith Knife—Pablo Lanaspa: Bisaurin
The second international journeyman smith knife entry is from Pablo Lanaspa Ubeira from the small town of Berdun in the north of Spain. “I am very grateful to the ABS for bringing me the opportunity to make this knife,” he said. “Special thanks to Brion for his kindness and ability to help in every circumstance.”
Ubeira has been making knives since 2008, and this piece, a bowie-inspired design, comes with a zippered case. “I was already a collector and then started to make my own blades from recycled steel when I made a rudimentary coal forge and a small belt grinder,” he said of his earlier days. His knife features a blade with a hamon that is clay differentiated and hardened. The blade is also slightly recurved with a full sharpened edge on the back, while the wood used for the handle, Australian ringed gidgee, is a gift from Belgian ABS master smith Sam Lurquin.
International ABS Journeyman Smith Knife Maker: Pablo Lanaspa Ubeira Knife name: Bisaurin Blade length: 12 inches Blade material: W2 steel with hamon Handle material: Australian ringed gidgee wood Overall length: 17 inches
U.S. ABS Journeyman Smith Knife—Joshua States: Stylized Quillon Dagger
Can you think of a better name for a maker of a United States journeyman smith knife than Joshua States? Of New River, Arizona, Joshua fashioned his U.S. JS model as a stylized version of a quillon dagger. “The coffin-frame handle is a complex build, and the blade is flat ground on the bevels with a central fuller,” he explained. “I took my first class with Tim Hancock, and that was a game changer. Previous to that I had spent about a year trying to do things without any training or reference material.”
According to States, his JS knife was originally undertaken as a commission. “A customer had seen a similar dagger I had made in 2014 and wanted a copy of that knife,” he recalled. “Unfortunately, he passed away soon after I had made the blade, and I hadn’t started making any of the other parts. So, I was now free to redesign the handle/guard/finial.”
Joshua also made the leather sheath with minor decorative tooling and a multi-color dye job. The leather is 5/16-inch thick in a heavy oak tanned sole bend.
U.S. ABS Journeyman Smith Knife Maker: Joshua States Knife pattern: Stylized quillon dagger Blade length: 11 inches Blade material: Pattern-welded 1095 carbon and 15N20 nickel-alloy steels, and nickel Handle material: Pattern-welded frame/desert ironwood scales Overall length: 16.3 inches Sheath: Hand-tooled-and-stitched leather
U.S. ABS Master Smith Folder—Bill Burke: Lanny’s Clip
One of two U.S. master smith knives to be auctioned is a folder from Bill Burke of the Boise, Idaho, area. A custom knifemaker for 25 years, Bill pays homage to the late Tony Bose, BLADE Magazine Cutlery Hall-Of-Fame® slipjoint making wizard, with a Lanny’s Clip pocketknife in a shark’s tooth damascus blade and mammoth ivory scales. “A lockbar and spacer of damascus are included,” Bill said, “with integral liners and bolsters.” The liners are fileworked and the knife comes with a zippered case.
U.S. ABS Master Smith Folder Maker: Bill Burke Knife name: Lanny’s Clip Blade length: 3.25 inches Blade material: Shark’s tooth damascus of 15N20 nickel-alloy and 1080 carbon steels Handle material: Mammoth ivory Lock mechanism: Lockback Closed length: 4.1875 inches
U.S. Master Smith Knife—Nick Rossi: Hybrid European Chef
Nick Rossi of Vassalboro, Maine, contributed an integral European hybrid chef’s knife with a 50-layer twist damascus blade and curly koa handle as the second U.S. master smith knife. Both blade and handle are fashioned in the 25-year-veteran smith’s signature styles. The blade is flat ground with a subtle convex edge, and the handle features a bronze domed pin and a G-10 spacer. “This is my favorite type of knife to make,” he said. “It features an integral bolster, which makes it stronger and gives it better balance. It was inspired by European chef’s knives with a little Japanese flavor.” The knife comes complete with a padded case.
U.S. Master Smith Knife Maker: Nick Rossi Knife name: Hybrid European Chef Blade length: 7.5 inches Blade material: A twist damascus of 1084 carbon and 15N20 nickel-alloy steels Handle material: Curly koa Overall length: 12 inches
T.O.M.B. Knife—Steve Culver: Fighter
This year’s T.O.M.B. (The Order of the Mystic Brotherhood) Knife is by ABS master smith Steve Culver of Meriden, Kansas. Culver has been an active knifemaker for 36 years, and his fighter was inspired by “all the cool recurve bowies that I’ve seen others make.”
In fact, the knife is Steve’s first venture into the recurve blade style. The blade is 220-layer ladder-pattern damascus, while the handle is Arizona desert ironwood with guard and spacer materials of anodized titanium and stainless steel. Steve also made the lined sheath, which sports lizard skin inlay.
T.O.M.B. Knife Maker: Steve Culver Knife pattern: Fighter Blade length: 8 inches Blade material: Ladder-pattern damascus of 15N20 nickel-alloy and 1084 carbon steels Handle material: Desert ironwood Overall length: 13.125 inches Sheath: Lined and features lizard-skin inlay
Revel in a short list of knife industry milestones that transformed the knife world.
Editor’s Note: BLADE Magazine is celebrating its 50th anniversary of its founding this year. To recognize this milestone, we are running a series of articles looking at the changes to the knife world the publication has been privy to over its history.
Time marches on. And in the cutlery industry, the half century from the early 1970s to the present has been filled with both revolution and evolution.
From the corner of a massive hall at a gun show, the slight mention of a new style of field tool, and the basic everyday factory blade carried in the worker’s pocket, the knife industry, both custom and factory, has blazed its own trail over the past 50 or so years, emerging from a somewhat obscure existence to the mainstream. And along the way have been those moments of discovery, awareness and excitement that have marked the trail.
For reference, a few of those moments include the following.
The first “meeting” of the Knifemakers’ Guild basically was the idea of A.G. Russell. What would become the Guild Show was the leading knife show for decades. A.G. (right) discusses a Harry Morseth knife with maker Lloyd Hale (left). (Sid Latham image)
1970s
Though what would become the Knifemakers’ Guild Show was first held in 1970, the show that occurred three years later is still talked about today. That was when Bill Moran reintroduced damascus steel for knife blades, kindling a revival of interest in damascus as the new “super steel” and generating a wave of collector fervor. Also in 1973, Blackie Collins founded The American Blade, a magazine for the knife industry like nothing that had been seen before. Known today as BLADE®, the publication remains a voice for the industry and a tangible contributor to the life and times of the knife enthusiast.
In the following decade, knife shows increased in number and attendance, including the BLADE Show, the New York Custom Knife Show, California Custom Knife Show and the Guild Show, the latter which led the pack for at least 20 years. At the same time, Guild members established industry trends, including the drop-point hunter and the popularization of super steels 154CM and ATS-34 by Bob Loveless, while A.G. Russell vigorously supported the knife industry through his advocacy, sharpeners, knives and growing catalog business.
Eric R Eggly, PointSeven Studios
In 1976, the American Bladesmith Society was formed, and those who forged their blades and worked in damascus at long last had their own organization to promote training and excellence with hammer-ins and other events that brought people together to learn the art of bladesmithing. By 1988, the ABS opened its own school, the Bill Moran School of Bladesmithing. For the first time, bladesmiths and knifemakers could take advantage of a year-round school that offered instruction in forging, bladesmithing and more.
1980s
Nineteen-eighty-one saw the introduction of two watershed knife creations by Spyderco and Michael Walker. With the C01 Worker, Spyderco headman Sal Glesser introduced the first knife with both the famed hole in the blade for easier one-hand knife opening and a pocket clip for enhanced carry. Walker, meanwhile, debuted his groundbreaking linerlock folder. The innovations led to a concentration on ease of carry and deployment, focusing the industry on such elements that made the experience of knife ownership something even more special.
Jimmy Lile and Sylvester Stallone combined to use Lile’s survival knife in the 1982 movie First Blood, and knives were never the same again.
Hollywood took its turn in the early 1980s with the Rambo series of feature films and the knives that played starring roles. Cutlery Hall-Of-Famers Jimmy Lile and Gil Hibben became celebrities in their own right, and sure enough, other knife-and-sword-oriented films followed, including the Conan series, Commando, Predator and The Last of the Mohicans. These were just a few but the knives of custom makers profoundly influenced the marketplace. Soon enough, collaborations between custom knifemakers and factory knife companies began to flower.
1990s
By the 1990s, equipment such as CNC, laser cutters and CAD/CAM entered the knifemaking realm and brought about rapid change in the way custom and factory knives were made. The introduction of such hi-tech equipment into the maker’s shop gave rise to a debate over the very definition of handmade—a debate that continues to this day.
As early as the 1990s, the use of laser cutters—here cutting a hole in a Spyderco blade—CNC machines and other high-tech equipment began to take hold in the making of knives.
At the same time, the emergence of the internet brought the commercial knife market to the world, as custom makers, factories, dealers, collectors and others offered knives for sale on an unprecedented scale. The global reach of the internet led to a burst of information on every aspect of the knife industry, from websites, forums for the exchange of information, how-to videos, online auctions, and even a bit of the dark side—buyer beware! Know your customer and other maxims rang true.
Along with the information explosion, competition was more robust than ever, particularly with the onrush of China’s factory presence, not only in quantity but also, later, in quality. The Chinese influence has redefined notions of affordability, value, and how knives are produced and distributed, and the resulting market conditions continue to impact the buying habits of consumers worldwide.
2000s On
Of course, there are ongoing challenges. Two significant advocacy groups, the American Knife & Tool Institute (AKTI) and Knife Rights, assumed leading roles in responding to knife laws and particularly to the zeal of government regulation, which at times has threatened the livelihood and freedom of Americans to carry one of man’s oldest tools. Pro-knife legislation and the legalization of automatics in many states are evidence of the credible work that has been done, with much of the organized response from the knife industry resulting from the defeat of the 2009 effort led by U.S. Customs to reclassify one-hand knives as switchblades/automatics.
With the C01 Worker in 1981, Sal Glesser and Spyderco introduced the first knife with both the famed hole in the blade for easier one-hand knife opening and a pocket clip for enhanced carry. Released in 2014, the company’s C01GPGR Worker Sprint Run paid homage to the original C01.
Knife Innovation
The history of the modern knife industry is one of rapid change and continuing innovation. Long-time maker Tim Britton recalls the influence of Blackie Collins and Blackie’s foray into publishing. “Blackie could sell refrigerators to Eskimos,” he commented. “The American Blade magazine was one of his favorite projects, and his input and support facilitated the start of the Knifemakers’ Guild. We had one show, the Guild Show, where we could share fellowship and technology. Names like Buster [Warenski], Henry Frank, [W.W. “Bud”] Cronk, Jim Schmidt and Bob Loveless became famous at our annual shows.
“Virgil England took us to another planet and then along came the Chinese industrial monster,” he continued. “Tactical knives were their focus and they had no hesitation in copying American designs. The American Bladesmith Society developed a business model whereby rediscovered damascus steel could be taken to all new levels. There was never any question in this group about ‘what is a handmade knife’ or who is copying whose design. Knifesmiths flourished, and Forged in Fire has taken us all to a new level. Knifemaking caught on in other countries, and those makers continue to produce some of the finest work imaginable.”
The ABS opened the Bill Moran School of Bladesmithing in 1988. The principals at the school’s ribbon cutting ceremony were, from left: Carl Nelson, president of Texarkana College, Bill Moran and Mrs. Margaret Moran, and Judge James Pilkington.
Custom knifemaker Jim Sornberger well remembers the early days of the Guild and its organization. “The Guild thing was first discussed in 1970, and that was Bob Loveless and A.G. Russell,” he said. “Actually, A.G. bought tables for a bunch of the guys and set that up. He said, ‘Let’s have a show and get a block of tables,’ and so he did that. The Guild was the best organization of knifemakers in the world, and it had the biggest knife show anywhere in the world for many years.”
As for technology, Sornberger says it is simply a fact of life. Evidence of progress and efficiency are seen in makers’ shops routinely today, including CNC equipment, mills, lathes, ingenious versions of versatile grinders and more. “You can’t reverse technology,” he reasoned. “There are always new methods of doing something.”
Ron Lake had a huge hand in the evolution of custom knives, introducing his clever tab-lock interframe folder and helping popularize 416 stainless. “It was a different world back when,” he remarked. “We had a small corner at a gun show, and Blackie Collins was sitting off by himself 30 feet away from me with a slipjoint knife, and I remember Loveless cut himself with that knife! A lot of people came and went from the knife world back in those days.”
Contributions such as the dropped hunter by Bob Loveless were among the trends started by members of the Knifemakers’ Guild in the 1970s and beyond. (Exquisiteknives.com image)
As Moran brought damascus back into the spotlight in 1973 and other developments were coming along, Lake remembers the growing ranks of the virtuoso custom knifemakers, including Billy Mace Imel, Buster Warenski and others. He also recalls the sudden impact of Spyderco. “I think maybe it wasn’t so much the hole,” he said, “but the clip. That in itself was a mind-boggling event—maybe not so much at the time, but later as people started using it.”
Ron Lake, Bob Loveless, Bill Moran and A.G. Russell
The influential journalistic career of B. R. Hughes has made its own contribution to the modern knife world. Hughes was there in the beginning of the modern era. He planned the first Gun Digest Book of Knives along with Jack Lewis, and it hit the market in 1973.
“That was a meaningful year,” Hughes remembered. “Ron Lake, Bob Loveless, Bill Moran and A.G. Russell are the most influential individuals in the history of custom knifemaking, and A.G. played a bigger role than a lot of people give him credit for. He saw the need to organize and there was a meeting in Tulsa in 1970, and the first Guild Show was in 1971, and it grew unbelievably. They met in Houston and there were about 20 or so makers, and then the next year the show was in Kansas City, and there were 40 or 50, and it just kept growing.”
According to B. R., damascus was a catalyst for revival in American bladesmithing. “The inclusion of damascus saved bladesmithing,” he said, “and there were fewer than 15 bladesmiths in America in 1973. The number was going down. There was Bo Randall and then Rudy Ruana as well, but just a few younger bladesmiths.”
The use of a wide range of new materials in the making of knives exploded in the 1990s and continues to this day. One of the latest examples is Bill Moran reintroduced damascus for knives at the 1973 Guild Show and the rest is history. Moran (right) observes another successful Guild Show with Betty and Ted Dowell at the ’74 event in Kansas City. (Sid Latham image), employed here by Gerry Michael on the blade of his Fancy Harpoon model. (Jocelyn Frasier image edit)
Then, he says, the founding of The American Blade weighed in. “That was immense,” he offered. “I started writing about knives in the early 1960s, and there were primarily just gun magazines. I wrote for Gun Week, doing some knife articles for them, but there was no knife magazine, and the people I wrote about were people I met at gun shows. Without a knife magazine, it made it tough to write about knives.”
Hughes added, “I was fortunate to be around the first meeting of the Guild and things like that.” Indeed, B. R. saw and wrote about history as it was made.
Knife Industry Ups and Downs
These days, the world of knives continues to expand, to change, to elicit praise and criticism. Britton has watched much of this evolution. “Quality Chinese repros are available at flea markets and gun shows for $15 to $40,” he observed. “Many knifemakers are designing knives for knife companies, further blurring the differences between handmade and factory/manufactured. The internet is being used extensively for marketing—from very ornate websites to knife forums. The ‘Show Calendar’ page in BLADE is crammed full of announcements of shows from San Francisco to Paris. Several knife dealers have created a secondary market, and literally thousands of knives are available for sale 24/7.”
Concurrently, Britton is excited about what he notices these days. “We’re seeing abrasive materials, grinders, CNC equipment, new steels, and exotic types of handle materials from paua shells to hippos’ teeth,” he noted. “Creative craftsmen are exploring new horizons with acrylics and phenolics and stabilized wood burls. We see something new at every show.”
Forged in Fire debuted in 2015 and since then has exposed millions of television viewers to knifemaking and bladesmithing on a weekly basis.
That, succinctly, is a strong indication of an industry, a passion, a way of life that continues to flourish despite the strain and stress that are natural byproducts of absolutely anything and everything that is alive. A half century from now there will be more milestones, more discussions and even greater achievement.
Members of the BLADE Magazine Cutlery Hall Of Fame® mentioned in the story and sidebar are Blackie Collins, Sal Glesser, Gil Hibben, B. R. Hughes, Billy Mace Imel, Ron Lake, Jimmy Lile, Bob Loveless, Bill Moran, Bo Randall, Rudy Ruana, A.G. Russell, Jim Sornberger, Bruce Voyles, Michael Walker and Buster Warenski.
25 Knife Industry Milestones
1973 Bill Moran reintroduces damascus for knife blades at the Guild Show 1973 The American Blade debuts 1976 Bill Moran, B. R. Hughes, Don Hastings and Bill Bagwell found the American Bladesmith Society 1981 Spyderco debuts the C01 Worker, the first knife with both a blade opening hole and a pocket clip 1981 Michael Walker introduces a folder with the linerlock mechanism 1982 First Blood and Jimmy Lile’s Rambo knife appear in theaters 1983 Michael Walker first uses titanium in the construction of one of his linerlocks 1987 Buster Warenski completes the King Tut dagger reproduction 1988 The Bill Moran School of Bladesmithing opens in Old Washington, Arkansas 1992 Bruce Voyles moves the BLADE Show to the Renaissance Waverly Hotel in Atlanta, where it opens to rave reviews 1990s An explosion in Crucible Particle Metallurgy and the so-called “super steels,” and such materials as carbon fiber, mosaic damascus and more revolutionize knifemaking 1990s Computer numerically controlled equipment, laser cutters and more for knifemaking begin to appear 1990s Internet knife web pages, knife discussion forums, knife instruction videos and more start making their mark Mid-1990s Tactical folders begin to dominate the custom and factory knife industries 1997 The BLADE Show moves from the Renaissance Waverly Hotel to the adjoining Cobb Galleria Centre and completes its ascendancy as the world’s most important knife event 1990s Chinese companies begin entering the factory knife business 1998 The American Knife & Tool Institute (AKTI), the oldest surviving knife advocacy group, debuts 2001 Terrorists bring down the Twin Towers and the knife industry reacts with a slew of military inspired knives, tomahawks and more 2006 The Knife Rights advocacy group debuts 2009 The knife industry unites to defeat an attempt by U.S. Customs to declare all one-hand-opening knives switchblades/automatics 2010s Social media begins taking the internet knife business to the next level 2010s Knife Rights and AKTI work to overhaul anti-knife legislation, including overturning automatic/switchblade bans and establishing knife preemption laws at the state level 2010s European knife manufacturers such as LionSteel, Fox Cutlery, Maserin and others begin winning more than their share of BLADE Magazine Knife-Of-The-Year® Awards 2015 Forged in Fire debuts and exposes millions of television viewers to knifemaking and bladesmithing for the first time 2020 The pandemic ravages the world and also the knife world, closing knife shows everywhere—including the BLADE Show 2020s The knife industry survives the pandemic, and, thanks to internet sales, even thrives in some segments—and knife shows begin to return
