Known For His High-Quality Custom Knives, RJ Martin Has Earned A Spot As One Of America’s Most Creative Knifemakers.
Between his exquisite custom knives and numerous collaborations with factory cutlery companies, RJ Martin has become a legacy name in the knife industry. As a teenager he was inspired by a Sports Afield article on knifemaker Bob Dozier and decided to try his hand at knifemaking, which he did with very satisfactory results. The seed was planted for what would become a lifelong passion of working with steel, the results of which are his incredible knives today.
To get there he studied at Rensselaer Polytechnic Institute in Troy, New York, graduating in 1984 with a degree in materials engineering. From there he spent 17 years working in the aircraft industry designing parts and mechanisms for hi-tech helicopters. This exposed him to a wide range of materials including carbon fiber and titanium and, just as important, CNC (Computer Numerical Control) machining. You couldn’t ask for a better prelude to becoming a custom knifemaker.
When Martin retired in 2001, he rediscovered his love for knifemaking and set up shop. At the time the modern tactical knife era was in full swing, so RJ jumped on board and hasn’t gotten off the train since. His tactical folders are his mainstay and if you look at his body of work, his designs flow like a river.
RJ Martin’s Most Important Tools
One half of Martin’s favorite, and most important sets of tools: his hands.
RJ came right out of the chute with a surprise when tendering his most important shop tool.
“My two favorite tools, bar none, are my own hands,” he begins. “Without them, I could not use any hand or machine tools. More importantly, I’d miss out on the incredible satisfaction working with my hands brings me. It’s important to take good care of your hands and eyes, and your lungs, because knifemaking will take its toll over time. I have had multiple hand and finger surgeries over the years to correct wear and tear—and a couple of my digits have suffered substantial injuries from knifemaking—so they’ve got character! Knifemaking is a contact sport and, banged up as they are, I wouldn’t trade them for anything. Lynyrd Skynyrd had it exactly right in their song Red White & Blue when they sang, ‘If you want to know where I’ve been, just look at my hands.’
“My favorite grinder is my Burr King BBA20, 2×72-inch belt model. It’s super smooth, runs incredibly true, and the 20-inch-diameter 60 durometer wheel lets me grind my bevels high while keeping my blades very strong. I re-grind almost all my blades after heat treating using this machine. The slow speed range is critical for steels like CPM S110V, S125V and MagnaCut, as they must be ground slowly with coolant and light pressure after the heat treat because they are so incredibly wear resistant. I got the adjustable-height pedestal stand because I’m tall, plus the super fancy ergonomic work rest option because it’s just too cool. This machine is also very quiet!”
The Tools RJ Martin Uses
RJ’s Sears 6×48-inch belt sander and the stand it’s sitting on belonged to his father, Richard, “who was a gifted artist, a great parent and—most of all—a decent and caring man. He never made a knife in his life but he encouraged me to make them.”
“And then there’s Sophia, my alter-ego and companion,” RJ continues. “Sophia is an Ares Seiki R5030, three-axis CNC mill built in 2021, and she’s, well, a badass! With 14 tools in her carousel and a 20,000 RPM dual-contact spindle running high-precision Big Kaiser 30-taper toolholders, she is my girl with a short skirt and a long jacket! With properly designed tooling, good [numerical control] programs and quality carbide tools, her precision is incredible. I named her Sophia because her name literally means ‘Wisdom,’ and she is indeed wise! I gave her some awesome LED lights made by OC White to illuminate her beautiful work, and I keep her super clean. She is, after all, a woman of class and distinction! Sophia wears my mom’s American flag, which I pass by every morning when I enter my shop.
“Finally, my Sears 6×48-inch belt sander and the stand it’s sitting on belonged to my father, Richard, who was a gifted artist, a great parent and—most of all—a decent and caring man. He never made a knife in his life but he encouraged me to make them.
“Those hands I wrote about earlier? They came from my father. Of this, I am certain. He passed before I really hit my stride as a knifemaker and I miss him dearly,” RJ notes. “So, I keep this machine in my row of grinders to remind me every day where I came from and how grateful I am to be able to work hard at a job that I love and am successful at.”
Ernest Emerson Is One Of The Leading Designer Of Tactical Knives, And We Get To See His Shop And How He Works
Ernest Emerson is entering his 44th year of knifemaking and his manufacturing company, Emerson Knives, Inc., is celebrating its 25th anniversary. Many knife nuts who have been around awhile remember Ernest when he was purely a custom knifemaker who was making exquisite folders exclusively. Then things changed.
When the first Gulf War came along, Emerson—who has an extensive background in martial arts—had already been working on tactical knife designs and, being the patriot he is, was ideally positioned to do his part in the war effort. Along with a handful of other talented custom makers, it wasn’t long before Ernest was instrumental in helping kick off the modern tactical knife movement that is still a huge part of the cutlery market today.
He never looked back and 25 years ago took his designs to the masses, switching his focus to becoming a cutlery manufacturer of tactical knives, primarily of the folding kind. He continues to make a limited number of custom knives and also uses his skills designing new knives for his factory line. We asked Ernie to give us the lowdown on the tools and equipment he relies on most to do his custom work and prototypes for Emerson knives.
Ernest Emerson’s Tools And Machines
Emerson employs a number of light, low-cost bench-top drill presses. He leaves them set up for various drilling and reaming operations, which saves him a lot of time as he moves down the row drilling liners and handles.
He opened by praising his vintage mill.
“The old Bridgeport has been fixed and rebuilt more than once but it is solid old-school quality and can still easily hold +/- .001-inch tolerances,” he observes. “I use it for all of my milling, tool, jig and fixture building, as well as all operations on bolsters and handles that require precise tolerances and hole depths such as bolsters, counterbores and handle countersinks.”
For grinding, he calls out one grinder maker in particular as his favorite.
“I use a variety of grinders but my go-to machines are those by Travis Wuertz. They are solid, sturdy, virtually silent, and extremely well thought out—and engineered by Travis,” Ernest says. “Their real value to me is that I can build a wide variety of specialized fixtures and tools that allow me to do very precise grinding operations on both blades and handles.”
Emerson uses a number of low-cost bench-top drill presses.
“At $125-$150 each I can afford to own several of them and leave them set up for various drilling and reaming operations,” he notes. “This saves me a lot of time as I can just move down the row as I drill liners and handles. The light drill presses work perfectly for me because all the holes I drill, tap or ream are small diameters and don’t need heavy drill presses to perform the operations. Plus, I get a better, lighter feel when I’m drilling delicate and expensive materials like pearl without damaging them.”
Keeping Things In Order
Hammered-6 in Moku-Ti bolsters with distressed solid copper scales and a hammered blade. Emerson’s list price: $10,000.
Ernest is a firm believer in being organized.
“Although my work area may look a little cluttered or messy [he was preparing for a show when the accompanying photos were taken], I am extremely organized and orderly,” he emphasizes. “Having come up through an apprenticeship program to become a tool-and-die maker, I had it drummed into me the importance of cleanliness and organization in producing precise results.”
He also relies on the smaller things that make up the whole of knifemaking.
“Although machines seem to play the biggest role in most shops, in my endeavors it is the jigs and fixtures that are my most valuable tools,” he states. “Coming up through the apprenticeship program early in my career and eventually earning the title of tool-and-die maker, it was hammered into me that the best machinists are the ones that can conceptualize and invent the most efficient and precise tools, jigs and fixtures to help them do their job. There is a lot of truth in that statement. I also have a full machine shop and woodworking shop with all the jointers, planers, sanders, table saws, routers, lathes and woodworking tools that I use.”
The Carabiners Knife Offers A Cool, Handy Way To Carry Your Everyday Knife.
The carabiner is most often associated with mountain climbing and rooted on the German word karabiner-haken, which roughly translates in English as “spring hook.” Spyderco brought the concept of adding a carabiner to a knife to prominence with its first Snap-It folder, the BLADE Magazine 1993 Overall Knife of the Year®.
In the years since, the carabiner knife concept has popped its head out of the foxhole from time-to-time, with Spyderco adding models to its line and other manufacturers following suit.
Simply stated, adding a carabiner to a knife offers an alternative way of carry. It’s a great way for a climber, camper or hiker to keep a knife handy, but what about the average everyday user? Is there a place for a carabiner cutter in your endeavors?
CRKT Compano Sheepsfoot
The Compano Sheepsfoot has a wicked-sharp blade that whipped through suede and paracord like butter. CRKT also offers the Compano in a drop-point version should you prefer a deeper-bellied blade.
The CRKT Compano Sheepsfoot is a sibling to the standard Compano drop-point model. Designed by Mike Bond of Honolulu, Hawaii, the Compano companions are designed as keychain knives with an edge. The folder’s cylindrical pivot is 1 inch in diameter—3/4 inch inside—with synthetic blue gear-like caps mounted to a stonewashed stainless-steel frame. The folder’s wicked little 1.44-inch blade opens by way of an oblong cutout and, interestingly, has a half-stop along the way. The handle has a generous-sized carabiner with a spring-loaded gate for capturing your key ring.
The svelte Compano Sheepsfoot can be clipped to a belt loop with no problem. The whole assemblage—Compano and keys, all on a keyring—can be carried loose in the pocket, too. I like the Compano not as a keychain knife but as a back-up, hideaway piece that can be clipped not just to a belt loop or toted loose in the pocket, but corded and worn as a neck knife as well.
Tests with the sheepsfoot blade were conclusive—the little rascal can cut! I laid out a flat of 4-inch suede and the blade sliced through it effortlessly. It liked paracord as well. In a self-defense situation with your index finger in the knife’s large pivot hole, the knife would be very difficult for a foe to dislodge. Regardless of how you plan to use this little mighty mite, I believe it would be money well spent.
CRKT COMPANO SHEEPSFOOT Blade length: 1.44 inches Blade steel: CPM S30V stainless Blade pattern: Sheepsfoot Handle material: Stonewashed stainless steel Lock: Non-locking slip joint Carry: Carabiner or in pocket Special features: Large finger-hole pivot Weight: 2.2 ounces Closed length: 3.25 inches Country of origin: China MSRP: $44
Kershaw Reverb XL
The Kershaw Reverb XL has a trailing-point blade the author found ideally geared for slicing. Notice there is no thumb stub or flipper tab for opening, with Kershaw opting instead for a finger groove to keep the Reverb snag-proof.
Kershaw makes no bones about the Reverb XL—it is made for the great outdoors. The slim 1-inch carabiner on the spine of the handle butt attaches to gear or a belt loop. A 1.5-inch pocket clip on the back handle slab can be used alternately. The Reverb XL has a sweeping trailing point or Persian-style blade with a gray finish. The blade thumbs open via a groove that follows the spine on both sides—no thumb studs or a flipper tab make it snag proof. The front slab is an attractive composite of black carbon fiber and blue G-10; the back slab is gray stainless with an interesting framelock cut completely inside the slab itself. The lock is accessed from the front slab via a cutout that exposes the lock spring.
The XL’s lock spring takes a little getting used to, but, once you get it, you get it. The knife’s extremely lightweight and won’t be a burden on any hiker, camper or climber. This is not a workhorse knife per se, rather an assistant for things like light meal prep and cutting rope or paracord. I tested it cutting sausage, paracord and 3/8-inch rappelling rope, all on a flat wood surface. The thin blade slices very well. Tough projects will leave you wanting more blade, but that’s not this knife’s design purpose. Keep it in its lane and it will serve you well.
KERSHAW REVERB XL Blade steel: 8Cr13MoV stainless Blade length: 3 inches Blade pattern: Trailing point Handle material: Carbon fiber, G-10, stainless steel Lock: Framelock Carry: Carabiner or blade-tip-up pocket clip Special features: Framelock, groove blade opener Weight: 2.31 ounces Closed length: 4.25 inches Country of origin: China MSRP: $53.95
DPx HEAT Hiker Stonewashed
The author found the DPx Gear HEAT Hiker brutish in both looks and action, whipping through this 3/8-inch rappelling rope with nice, clean cuts from the CPM S30V stainless steel blade. The HEAT Hiker has by far the largest, most accommodating carabiner of the review knives.
The DPx HEAT Hiker Stonewashed is an upscale version of the original DPx versions released in 2014. With White River Knife & Tool handling the manufacturing chores, DPx Gear ordered these up with premium CPM S30V stainless steel blades in a stonewashed finish. Other than that, all the knife’s popular trademark features—skeletonized carabiner handle, cap lifter on the lower blade spine and nifty Kydex breakaway neck sheath—are preserved for HEAT Hiker fans to enjoy. The Hiker blade is built on 0.16-inch-thick steel so you can bet it’s plenty stout, while still lightweight enough to make it a breeze to carry.
The curves on the integral handle fit the hand well, and cutting through 3/8-inch rappelling rope was as easy as eating puffed wheat for breakfast. The knife’s short blade will shave wood for fire starter and is limited only by its length. An area the Hiker truly excels in is its carry options. The gaping carabiner allows it to easily hook onto belt loops or gear, and its thin cross-section allows it to lay flat against the chest when worn as a neck knife. Can you say EDC? Designed by adventurist/journalist Robert Young Pelton, aka RYP, you can tell the HEAT Hiker had a lot of thought and experience behind its development.
DPx HEAT HIKER Blade steel: CPM S30V stainless Blade length: 2.5 inches Blade type: Drop point Handle material: Skeletonized steel Carry: Carabiner or Kydex neck sheath Special features: Bottle opener/breakaway sheath Weight: 2.15 ounces Overall length: 6.25 inches Country of origin: USA MSRP: $125
Fox Knives Ferox
Using the plain-edge portion, the 3.54-inch Bohler N690 stainless steel blade of the Fox Knives Ferox serves up some nice shavings from a block of wood.
The Fox Knives Ferox carabiner knife brings a couple of extra tools to the table, namely a set of Phillips and flat-head bit drivers along with a 2-inch extension. Designer Tommaso Rumici saw a need to add the two components because knife users often get caught flat-footed by not having screwdrivers on hand and end up using the tips of their knife blades—which is not only hazardous to the knife but can cause harm to the user as well.
The Ferox is a black-coated, mid-sized integral straight knife with a blade available in either a plain or partially serrated edge. The handle butt houses a round finger-sized carabiner 1 inch in inside diameter with a .5-inch spring gate. The scales are black G-10, grooved in the middle to house the Phillips and flat-head bits on either side. There are eight O-rings on the handle that serve to trap the bits until ready to use, and also to add purchase. The Ferox includes a black Kydex sheath with a Tek-Lok belt attachment.
There’s a lot to unpack here. The Ferox and its sheath weigh 9 ounces, which, in my opinion, is a little too much for hanging off a belt loop, though ideal for gear with a decent size strap or metal ring. The knife is very well made, and the blade sliced through 3/8-inch rappelling rope and took off firewood shavings from a wood block effortlessly. This is a heavy-duty knife for its size and the blade steel is praiseworthy.
The bit driver is an interesting addition. The drive extension must be kept track of separately as there is no place for it to attach to the sheath. While I think the bit driver is a handy addition—and it does work—I like the knife more for its other characteristics: it’s built like a tank, has excellent steel and cuts like a house afire. I’d opt for the plain-edge version to get even more slice out of the superb blade.
FOX KNIVES FEROX Designer: Tommaso Rumici Blade steel: Bohler N690 stainless Blade pattern: Drop point Blade length: 3.54 inches Handle material: Black G-10 Carry: Carabiner or sheath Special features: Integral design, flat-head and Phillips driver bits Weight: 5.29 ounces Overall length: 7.27 inches Country of origin: Italy MSRP: $299
Three Knifemakers Take Us Into Their Shop To Show Us Their Process And How They Forge Steel Into Beautiful Blades.
How serious was Kirby Lambert about buying the necessary equipment to become a custom knifemaker?
“I dropped out of school at the University of Calgary to start my knifemaking career,” he began. “In order to purchase machinery, tools, and equipment I had to sell off the one thing I had that was worth any money—my 1969 440 Dodge Charger.
“My milling/drilling machine was one of the very first pieces of equipment I purchased at the beginning of my knifemaking career. It’s a Force International that was made for House of Tools, which is no longer in existence. I purchased it around 2002, and every knife I’ve made since that time has either been drilled and/or milled on it.
“Some of the most important and most-used pieces of machinery I have are my belt grinders,” Kirby continued. “My favorite is the TW-90 [the one with the yellow belt illustrated in one of the accompanying pictures]. Not only is it one of the most versatile grinders on the market, it’s also designed and made by my good friend, Travis Wuertz. This grinder does it all and then some. Not only do I use it for grinding bevels and the like, it comes with small wheel attachments and an incredible surface-grinding attachment, which is perfect when having limited shop space.”
Kirby bought his other TW-90 grinder from KMG many years ago and uses it often to this day.
One of the latest flipper folders from Kirby Lambert is the Raine in Damacore stainless damascus by Damasteel, a carboquartz handle, and Zircuti bolsters and clip. (SharpByCoop knife image)
“Another must-have tool for any folder maker is a tapping head,” he observed. “It allows you to tap and thread holes quickly and easily. I purchased the one I use from KBC Tool in the early 2000s. It’s mounted to a drill press that has some sentimental value. I got it from knifemaker Bill Schiller, who helped me out a lot when I was first getting started in the early 1990s. Sadly, Bill passed away in 2017.”
Lambert extolled the virtues of a good buffer for fine surface finishing.
“Another of the first tools I purchased that I still regularly use is my buffing unit. I bought it from Bill Schiller as well,” Kirby recalled. “He had done some modifications to it by machining heavier shafts/arbors. With a number of different wheels, buffers and compounds, I use this machine to achieve a variety of finishes on knife blades and parts.”
Kirby’s heat-treating oven is key for preparing the steel that goes into his blades—and it holds sentimental value as well.
“My Paragon oven was given to me by my dear friend and mentor, Brian Lyttle. I worked with Brian for a few years in his shop in Alberta before moving back to Saskatchewan to set up my own shop. If it weren’t for Brian, I would not be where I am today. He passed away in 2016,” Kirby lamented. “No matter how fancy the steel or materials, a knife doesn’t become a knife until it’s properly heat treated. It’s the most crucial step in knifemaking and is the moment the knife gets its soul.”
Mike Quesenberry
Mike made his 9-inch disc sander from sourced components—a 1-horsepower, 3-phase Leeson motor paired with the KBAC-24D VFD and a 9-inch flat steel disc.
A knifemaker since 2005, Mike Quesenberry received his ABS journeyman smith stamp at the 2009 BLADE Show. At the 2014 BLADE Show he earned his ABS master smith stamp and the coveted B.R. Hughes Award for the show’s best knife submitted by a master smith applicant. In a nutshell, Mike makes top-shelf stuff and has the shop to do it.
“A good grinder is essential for the knifemaker and the TW-90 is a great one,” he opined. “Travis Wuertz was the innovator with this style of grinder and has had countless copycats. It’s made with the best materials, motors and VFDs [variable frequency drives] on the market.
“The one invaluable accessory is the surface-grinding attachment. As knifemakers we are in constant need of making things flat, and this does it quickly and efficiently. I own two of these machines. The first one was out of the initial batch back in 2010 and is still going strong today. I can’t say enough positive things about the TW-90.
“If you’re looking to cut down on your hand-sanding time, the 9-inch disk sander is the answer. I made mine from sourced components—a 1-horsepower, 3-phase Leeson motor paired with the KBAC-24D VFD and a 9-inch flat steel disc. The stand is fully adjustable and the addition of the task lighting makes seeing a uniform scratch pattern a breeze. I use repositionable adhesive for the 9×11 sandpaper sheets and for the quarter-inch rubber backing, available from K&G supply. The bare steel disk gives crisp flats and the rubber backing allows higher-grit finishes and bevels blended to a zero edge.”
Keeping everything organized is key, and Mike considers his workbench the most valuable asset in the shop.
Mike Quesenberry forged this damascus double-lugged full integral with a tapered tang. The shaped blackwood scales are left proud and secured with domed Argentium pins. (Caleb Royer knife image)
“The efficiency and organization behind it save me countless hours. My wife, Antoinette, was a huge help in the construction of this bench. Without her it would have never looked this nice,” he noted. “The two side stands are made from Craftsman toolboxes with different drawer configurations. They sit on 2×6 frames, giving rigidity to the structure, but, most importantly, the screw or pin that falls off the bench has nowhere to go. I have found that a paper cutter is the most efficient way of processing strips of sandpaper, and I go through a lot of it. The granite surface plate with 120-grit paper is great for finishing flats.
“The most used part of my bench is the vise. It’s a small one—3-to-4 inches is ideal—and perfect for holding knife-sized work. The stand is built from 21/2- and 3-inch square tubing. It allows the vise to move in and out and up and down. Versatility is the key, allowing you to sit or stand and be comfortable no matter if you’re hand sanding or doing detailed filework. Hours spent at a workstation that is not ergonomic can be hard on the body. Take the time and build a friendly work environment—your body and productivity will thank you.”
Rick Eaton
A GRS engraving instructor since 2005, Rick has an engraving office desk station that includes a GRS GraverMach with Magnum and 901 Monarch handpieces, plus an 860 high-speed rotary handpiece.
Knifemaker Rick Eaton forges the blades for his exquisite art knives, so a dependable hydraulic press is a must.
“For forging damascus I use a Carlisle Imagination Xpress 25-ton hydraulic press made by Jeff Carlisle of Simms, Montana,” Rick stated, adding he doesn’t know if Carlisle still makes the presses or not. “I got this one in 1999 after starting to learn how to forge damascus from Shane Taylor and Steve Schwarzer at Shane’s family ranch. This press has given me 23 years of use with zero problems and I’ve made a whole lot of damascus with it. It has a two-stage pump so the hydraulics work fast. If you have one machine for forging damascus, this one is great. Dies are easy to make and changing them is fast when going to different operations.”
For cooking his steel, Eaton made his own heat-treating oven.
“It’s has a 20-inch outside diameter and about an 18-inch vertical interior diameter. It’s propane fired with forced air using a blower. I received guidance from Shane and Steve on how to build it back in 1999. It has castable refractory cement in the bottom with Kaowool insulated sides covered in more refractory cement. I’ve relined it multiple times—it’s about due for another one. It works great for large cans or stacks [of steel].”
One of Rick’s specialties is the interframe folder, which requires an extraordinary degree of precision to execute. For reducing and transferring his designs he relies on his pantograph.
The Roman Gold folder by Rick Eaton features a Roman-style mosaic damascus blade. The 18k-rose-gold-slab handle is full-relief carved and engraved with two scenes in the bulino style. (Eric Eggly/PointSeven knife image)
“I use a Gorton P2-3 pantograph, made about 1972, that I’ve owned since 1994. I do all my interframes and side-locks using it,” Rick noted. “The one issue with this pantograph is it only goes down to a 2:1 ratio, so my final templates are made at this size. For doing interframes I hand make a 4:1 template, then use this one to make a 2:1 template to cut the handle. This machine gives me the ability to remake an interframe pattern accurately and quickly. Any of my knives that are numbered were done with this, even though my high-end art models are not copied—they are all one-offs.”
Like Kirby Lambert and Mike Quesenberry before him, Rick is a big fan of the TW-90 belt grinder.
“For many of my grinding chores I use a Travis Wuertz TW-90 vertical/horizontal grinder with a 2-horsepower variable 220 motor. I can do just about anything with this grinder,” he commented. “It tracks real well and I love all the different attachments that you can get with it. It’s a top-of-the-line grinder.”
Rick not only does all the engraving on his art knives. He’s been a GRS engraving instructor since 2005.
“I have an engraving office desk station with a GRS GraverMach with Magnum and 901 Monarch handpieces, plus an 860 high-speed rotary handpiece. It has the GRS positioning vise on top of the satellite stand,” he stated. “I also use the Acrobat stand Leica A60 variable microscope, and for keeping the tools sharp it has a GraverHone with Apex sharpening system, all hooked up to a large air compressor out in the shop area. This is GRS’s top-of-the-line setup.”
A Pair Of Gifted Knifemakers Show Off The Tools They Use To Turn Raw Steel Into Razor-Sharp Works Of Art.
Simply put, Salem Straub makes art and culinary knives of the highest order. He began forging in 2003 when a previous project introduced him to blacksmithing and, like so many knifemakers, once the bug bit there was no turning back.
Twenty years later Salem is at the top of his game and all his work is sole authorship. What’s more, he delighted many knife lovers by competing and winning in the second season of the History Channel’s popular reality show, Forged in Fire.
Award-winning bladesmith Salem Straub makes fine art folders, fixed blades and swords, and added culinary knives out of his passion for cooking.
Salem operates his custom cutlery business under the name Promethean Knives after a passage from noted British writer Zia Haider Rahman: “Is that not the Promethean fable, that the fire stolen from the gods will light men their way even while it burns their hands?”
Salem built his reputation for making fine art folders and fixed blades, including swords, but he added culinary knives out of his passion for cooking, which in turn led to his winning the Best Integral Award at the 2019 Damasteel Chef Invitational. His forging specialty is extremely fine patterned damascus.
Inside Salem Straub’s Shop
Salem leads off his list of top tools with his bandsaw.
“The Marvel Model 81 Hydraulic Vertical Bandsaw is the ideal saw for a dedicated pattern welder,” he begins. “It will easily handle all the normal operations that either a horizontal or vertical bandsaw can, but also affords the additional capability of ripping lengthwise with power feed, miter cuts, compound miter cuts and rips. Everything from the table vise to the saw feed and drive wheel is hydraulically powered, and a flood coolant system is integral to the design.”
Straub’s Marvel Model 81 Hydraulic Vertical Bandsaw easily handles anything a horizontal or vertical bandsaw can, and affords the additional capability of ripping lengthwise with power feed, miter cuts, compound miter cuts and rips.
His lathe of choice is his Pratt & Whitney Model C Toolroom model.
“It’s a bit larger than might be strictly necessary for knifemaking,” Salem notes, “but affords the ability to create parts for repair of, or modification to, other machines. It’s also very smooth, accurate and convenient for making and threading small knife parts to close tolerances. The P&W ‘C’ lathes are among the truly legendary lathes from the heyday of American machine tool manufacturing.”
His Abrasive Machine Tool Model 3B Surface Grinder features an 8×24-inch capacity automatic table with a magnetic chuck, a 2×72-inch-belt modification by Salem, and a 3-horsepower motor.
“The table feeds are mechanically powered and relatively quiet and very reliable in operation,” he explains. “This machine is MVP in the shop, especially on many damascus production days. The belt modification allows for much faster removal of stock, making billet and tiling work much faster and more precise.
“Another piece of equipment I can’t do without is my Beaudry Champion #9 300-pound power hammer. I bought it from the late Larry Langdon, who gave me quite a deal as it needed lots of work to restore, and some difficult parts had to be made. After I took seven months to overhaul and install it, this hammer has become the cornerstone of my operations in making composite damascus billets and blades. The large flat die surfaces and excellent control make it ideal for forge welding, and it has plenty of power to forge large cross sections efficiently.”
Straub’s chef’s knife sports a 9-inch blade of a stunning herringbone/mosaic composite damascus and a Japanese-style wa handle. (knife image by Abe Shaw of Eating Tools, Inc.)
Next up Straub extols the virtues of his rolling mill.
“My 10-horsepower rolling mill with 6×6-inch rollers is probably a tertiary forging machine for most hot shops to have—after a hammer and press—but it’s very handy indeed for cleanly drawing billets to bar stock, welding san-mai, and sizing pattern elements before tiling or four-way welds and the like. It was built to spec by a fab shop for my friend Mike Blue, whom I bought it from. I consider it a very good working design, and for production damascus it’s a huge help.”
Last but not least, Salem mentions his 1960s-era Deckel GK21 Pantograph.
“This is a machine quite unlike the others. Its use is quiet, contemplative, technical, and its mode of use is more artistic than one of brute force. The GK21 is a machine that pretty much defines its class—very smooth to operate and fascinating in its potential. I’ve been learning to use it for a few years and so far I’ve been mostly doing inlays for handle work, but I’m branching out into engraving designs onto handles with it, too. I look forward to decades of finding out new cool ways to use it.”
Andreas Kalani
Andreas Kalani specializes in mainstream and culinary fixed blades and also folders.
Andreas Kalani spent 30 years in the corporate world, but once he discovered knifemaking he knew he’d found his calling. Now, nearly 10 years after leaving his former occupation, the Iranian-American is a full-fledged U.S. citizen grinding steel and making the knives of his dreams.
Kalani is an American Bladesmith Society apprentice smith currently working on his journeyman smith designation on the way to his ultimate goal of master smith. The versatile maker builds fixed blades—both mainstream and culinary—and folders.
Among those pieces are some top-shelf art knives. Meanwhile, he also makes a point of offering affordable fare for his customers. He markets his cutlery under the AK Custom Knives label and also instructs budding makers with a separate division called AK University. Needless to say, Andreas keeps himself busy with a full plate of cutlery interests.
Inside Andreas Kalani’s Shop
He leads off his knifemaking go-to equipment with a lightweight wonder.
“One of the most valuable tools in my shop is my Dremel 4000 Rotary Tool,” he reveals. “I use Dremel for engraving, polishing, sanding, cutting and much more. Dremel was my shop’s first official tool before I became a knifemaker. I used to make small and miniature swords and knives for my wire sculpture, and I could grind and shape the blades and handles with my Dremel tool. You can use various tips and bits for multiple uses such as carbide tips for steel and alloys or diamond tips for clay, woods and other materials. The possibilities are endless and you can be super creative with this tool; you can either mount it on the table, make a stand for it, or get an extra pen cable to do much more.”
Next on his list is his Evenheat Kiln.
Andreas not only uses his Evenheat Kiln for heat treating his blades but also for lost-wax processing.
“It is generally used for the blade heat treatment to have better steel structure and accurate Rockwell hardness,” he states. “However, sometimes I use it for lost-wax processing as well. Before I got the kiln I had to send out all of my blades for professional heat treatment and it was time-consuming and costly, especially when I wanted to work on one custom project. Therefore, I had to get my own. With this kiln in the shop I can now heat treat various steels from high carbon to stainless, and know I have a good grain structure and a suitable heat treatment. An Evenheat kiln is one of the must-have tools for any knifemaker in the shop.”
According to Andreas, finishing tools play multiple roles in his operation.
“They are the most used on every project in my shop,” he observes. “From the finishing stones to G-10 sanding blocks, I use them for various sanding and polishing. Gesswein® EDM Blue Stones are made from premium aluminum oxide. EDM Blue is a more complex formulation of EDM stones specially designed to handle the high-speed back-and-forth motion of a profiler or ultrasonic machines, and are superior for polishing the most challenging scales. The stones are designed for use on hard surfaces at high speed and hold their shape very well.”
For the sanding blocks, Andreas created different G-10 paddles for such various uses as flat, concave or convex sanding.
“I add additional leather or plastic backing to each paddle to have more give on a harder surface when sanding,” he notes. “By combining these tools, I can achieve a beautiful finish on all of my blades.”
The Milwaukee Portable Bandsaw 6232-20 is another must-have machine in his shop.
“It’s precise when you want precision cuts or to create an intricate geometry—for example, when you want to make a guard for a knife, you can outline your guard on whatever [steel/alloy] you use and then quickly cut it to the shape. Afterward, you can go straight to the grinder to shape the final form,” he states. “You can purchase different types and styles of the blade for this machine to have a better cut and precision for other materials. It’s portable and I purchased a stand for it separately, which is made specifically for this machine by SWAG Off Road.”
Another invaluable tool in Kalani’s shop is the 25-gallon Sandblaster cabinet, which helps remove material, clean, and applies the final finish to blades.
Kalani’s14.5-inch Lagertha Middle-East chef’s knife features a blade of 1095 carbon steel with an electro-pattern mirror polish. The Natural Galaxy handle is a combo of Middle Eastern turquoise and flowers. (SharpByCoop knife image)
“You can achieve different results on other materials using various media types from the walnut shell, glass bead, aluminum oxide, steel bead and so on,” Andreas explains. “There’s a learning curve and trial and error at the beginning. For example, if you want to sandblast titanium and be able to anodize it, you cannot blast it with aluminum oxide or steel media. The pressure will infuse the titanium and prevent it from anodizing. Based on my trial and error I found out that glass beads not only give a good matte surface to titanium but also keep it clean—and I am able to anodize it.”
He calls the 2×72 TW90 Grinder “the mother of all the machines in the shop.” It has a multi-position setup and various speeds, giving him limitless capability for different styles and types of grinding.
“I own at least five other attachments for this machine, including an 8-inch wheel, a 4-inch wheel, a modular switchable small wheel, a surface grinding attachment, plus flat and slack-belt platen,” Andreas observes. “One best modification I applied to it was adding an earth magnet on my work rest to use for different sizes and styles of work. It’s helpful for a different kind of grinding. For example, if you want to grind a sword, you need a more extensive work rest to run your blade over it, and this is super helpful.”
We Take A Look Inside The Shop Of ABS Master Smith Steve Schwarzer And See How He Makes His Mosaic Damascus Wonders
Of all the forgers of mosaic damascus in the knife industry, none stand out any more than American Bladesmith Society Master Smith Steve Schwarzer.
Steve began forging in the early 1970s. In 1981 he received his ABS master smith rating, his papers signed by none other than one of four ABS founders/BLADE Magazine Cutlery Hall-Of-Fame® member Bill Moran, and was officially recognized as an MS in 1983. Steve has an intense passion for forging mosaic damascus and his contribution to this steel niche over the decades has been immeasurable. Unselfish to the extreme, he has forged damascus for many custom makers and tutored many on forging and the making of pattern-welded steel over the years—which he continues to do to this day.
His awards over 50 years of knifemaking are too numerous to name, as have his appearances in BLADE®. BLADE is delighted to feature Steve once again, this time in a supersized edition of “Shop Dump” to give readers a deep dive into the equipment this modern-day master uses to achieve his magical works.
Inside Steve’s Shop
Steve rescued his Kent USA precision surface grinder from a knifemaker friend. In the process of retrieving it, Steve almost destroyed it while loading it. However, another friend restored it to better than new.
As you can imagine, Steve has acquired a lot of equipment over his many years of knifemaking and has honed his shop to perfection. We asked the artisan to give us an extended tour of his digs and he gladly obliged. He kicked the tour off with his forging hammer.
“The Chambersburg 2 Hammer was my first real game changer,” Steve notes. “I had owned several mechanical hammers before I found it. The control in forging set me apart from others. It also allowed me to work much larger masses of damascus. I have trained dozens of the current top makers pattern welding using this machine. I built my second shop around it. It’s now in my home shop.
“Next up is my custom-built 50-ton Coal Works computer-assisted C Frame press. This is a recent acquisition and is also a game changer for controlled forging. It has a return to 1/100 of an inch. Basically, it comes with millions of electronic stop blocks. It has the ability to swap dies to any configuration in minutes. I have built many presses over the years; this one has all the benefits and adaptability afforded by all the others combined. I worked very closely with the crew at Coal Iron to bring this beast to life. I’m still exploring its capabilities.”
Grinders are a must-have of any maker’s shop and Schwarzer has a passel of them.
“I own four Beaumont grinders—one for over 20 years—and they are great machines that track properly,” Steve states. “Three are 2×72 belt grinders, two with controllers. They’re constructed of steel, making it very easy to make tooling and various fixtures for any project. The disc grinder runs perfectly true, making grinding precision angles a breeze.”
Steve Schwarzer’s Forges
Steve’s ribbon burner is one of several forges in his shop. He designed it and a close friend built it. It’s purpose-built for working very large canister damascus.
Steve brings the heat to his steel with a forge of his design.
“My forge is one of several I run in my shop. It’s a ribbon burner designed by me and constructed by a close friend. It’s purpose-built for working very large canister damascus. I have built dozens of forges over the last 40 years. This is the latest version. My previous forges were all versions of a Don Fogg design.”
If you’ve read past installments of “Shop Dump,” you know it’s not at all uncommon for equipment to be passed down from one maker to the next. Such is the case with Steve’s mill and surface grinder.
“My Kent USA knee mill is my go-to for all precision drilling and milling. It was rescued from a retired knifemaker who took excellent care of it,” Steve relates. “It’s variable speed, making it handy for all types of tooling.
“I also rescued my Kent USA precision surface grinder from the same knifemaker. It had a history when I went to retrieve it. I made a rookie mistake loading it. Long story short, I, for all practical purposes, destroyed it. I broke about everything on it. I had in mind to scrap it. I called a friend who owns one and asked if he wanted it for parts. He said, ‘Let me look at it.’ I took it to his shop. He is a true wizard. He totally restored the machine I thought was lost to better than new. He also taught me how to properly grind with it. I will always be grateful.”
If walls could talk there is no telling how many amusing tales Schwarzer’s shop could tell.
“I have a shop full of machines, all with some story attached,” the affable bladesmith said. “My tool rack has dozens of hammers and tongs collected over 40 years. This is my happy place. I love teaching and sharing the stories with students and friends.”
For more information contact Steve Schwarzer through his website at steveschwarzer.com.
Few Patterns Are As Stunning And Audacious As Daggers And Fighters. These Four Makers From Around The World Show What Elite Craftsmen Are Creating Today.
Knives with attitude always have been popular among many makers and cutlery enthusiasts, and, if you’ve ever been to a BLADE Show, chances are you’ve seen some eye-popping examples. Many have in-your-face themes, with daggers and fighters getting lots of love among them.
Wardog Fighter By Samuel Lurquin
The Wardog Fighter by Samuel Lurquin includes a handsome leather pouch sheath with logo by Jeremy Guillaume, a sandblasted-then-blued blade, a tight-waisted bird’s beak handle, and a dog tag with appropriate verbiage and logo. Overall length: 12.8 inches.
If Samuel Lurquin’s Wardog Fighter looks familiar, that’s because it is—it served as one of three cover knives for the June BLADE®. However, due to space requirements, we were unable to give the knife its just due in that issue, so we correct that oversight here.
Sam is an ABS master smith from Belgium who makes bullet-proof tactical fixed blades ticketed for extreme “rough ’n tumble” use beyond the call of duty. Sam’s English is somewhat limited, so we turned to Dave Ellis, proprietor of Exquisite Knives, who specializes in upscale cutlery from around the world. Dave is California’s first ABS master smith who has since retired from hammering steel to become a purveyor of fine custom knives. Dave’s overview of the Wardog is insightful.
“Sam’s combat knife was designed to be very concealable, nothing flashy that sticks out! Twenty years discussing the needs of end users helped him design a knife to be used hard in the field,” Dave observes. “Rather than taking credit for the knife’s design, Sam instead deferred to the many experts when it came to ergonomics, concealment, and design to ultimately come up with this sleek fighter.”
The beefy clip-point blade is 7.5 inches to go with the 5.3-inch black G-10 handle.
“I asked Sam if he considered this to be the perfect combat/field knife,” Dave states. “His response was quite sincere. He said, ‘There’s never just one perfect knife.’ Use dictates the design of each piece, and this design Sam hopes is one that he could stake his own life on. This is very important to Lurquin—that if all else fails, his knife will prevail.”
Dave explained the Wardog’s finish process: “The blade was sand blasted then cold gun blued. The bluing produced a forced rusting [patina] that Sam removes with steel wool. The blade is stonewashed for the final finish, one that will stand up to hard use.”
Sam designed the thick, all leather sheath and had his friend, Jeremy Guillaume of 8 Ball Leather, make it. “It’s double welted and has double latches to keep the knife secured on many media—belts, backpacks and the like,” Dave concludes. “Sam felt that Kydex is too noisy, thus the use of leather.”
Commando Dagger By Joe Israel
Joe Israel offers his Commando Dagger with the smaller Shrike EDC knife. A big fan of the Fairbairn-Sykes dagger of World War II fame, Joe patterned the handle on that of the F-S classic. The Kydex sheaths are by Harry Savage.
One of this issue’s cover knives, Joe Israel’s Commando Dagger is born out of Joe’s intense fondness for the armed forces knives with a double edge.
“I’m inspired by all the great military daggers like the Case V-42, Fairbairn-Sykes, Gerber Mark II—these knives have always fascinated me,” he observes. “I wanted to create something both beautiful and a bit sinister which, after all, is what I think daggers are.”
Though very stylish, Joe’s knife is meant to be used.
“For the Commando Dagger, I start with 3/16-inch CPM 154 stock that I flat grind by hand and heat treat myself, including a liquid nitrogen cryo. The blade is 6 inches long and the overall length is 11 inches,” he states. “It’s then hand sanded to 3,000 grit and mirror polished.”
The blade is sharpened on both sides. If the curvaceous handle smacks of a certain famous World War II combat knife, it is purely intentional.
“I always loved the shape of the Fairbairn-Sykes handles and I try to emulate their elegant shape in my Commando Dagger,” he comments. “The knife is full tang with a brass guard that I pin and solder in place old-school style.” The scales are black linen Micarta® with blood-red G-10 liners secured with brass pins.
Joe supplies his knives with no-frills, all-business black Kydex sheaths, and also offers them in leather. “Harry Savage makes the sheaths for the daggers and he’s just great to work with,” the maker opines. “His work is always top-notch. The small knife in the picture accompanying this story is my Shrike EDC. It’s available in a variety of steels and handle materials. I offer Kydex and leather sheaths for my other knives, too.”
The Toothpick By Matthew Roberts
Matt Roberts chose ladder-pattern damascus for his Toothpick dagger because it complements the symmetrical blade profile, and the coffin-handle design for its simplicity and flowing lines.
Matthew Roberts is an ABS journeyman smith with a passion for forging.
“I modeled the Toothpick after the Gold Rush daggers and Arkansas toothpicks of the 19th century,” he explains. “I have no knowledge whatsoever of historical knives and their dimensions. I made this because it looks vicious. Utility was an afterthought for this build.
“I forged the blade from 15N20 and 80CrV2 steels,” he continues. “I chose ladder-pattern damascus because it complements the symmetrical profile. The blade geometry is very acute with a full distal taper—the point is ground to near zero.” The Toothpick has a 7.25-inch blade length and is 12 inches overall. The blade is 1.2 inches wide at the widest and has about a .165-inch maximum thickness.
Matt chose a coffin handle design for its simplicity and flowing lines. The radius of the handle profile mirrors the blade profile. The handle material is African blackwood that Matt faceted heavily.
“Blackwood seemed to be an appropriate choice because I wanted the blade to be the focus of the piece,” he notes. “Also, blackwood is a very heavy wood which helped bring the point of balance well into the handle.” The guard and spacer are 416 stainless. The spacer fluting is mirror polished.
Matt chose a simple sheath to reflect the clean lines of his dagger. “It’s buffalo hide over bridle leather,” he states. “The hide has a matte finish and is very soft.”
Coffin Dagger By Julian Sacco
Julian Sacco’s Coffin Dagger features a W2 tool steel blade made via the stock-removal method and an unusual smoky hamon he chose for an “ominous feel.” The African blackwood handle is configured in what the maker calls an “old-school-coffin” style.
Julian Sacco’s dagger redefines the word sleek—and that only begins to describe the distinctiveness of his take-down-construction Coffin Dagger.
“The inspiration for this piece came from seeing a lot of other makers do coffin-style bowie knives,” Julian relates. “I felt a shape like a coffin would fit really well on this dagger, as it’s an entirely mirrored piece all the way around. Essentially I wanted it to have an old look and feel to it and I think the coffin style fit that profile perfectly.”
The blade is ultra-slim and has a notable hamon.
“The blade is W2 tool steel and is done in the stock removal method,” he notes. “I don’t have much experience with hamons but, as per the theme of this dagger, I tried to create a smoky pattern to give it an ominous feel.” The knife has a 7-inch cutting edge and is 13 inches overall. “I wanted this to be more of a nimble and easy maneuvering piece,” Julian states, “somewhat like a stiletto dagger, but not quite.”
The grip’s modified wasp waist exudes creativity as well.
“The handle is shaped entirely to look like an old-school-style coffin, which I think it resembles quite well. I wanted to have an aggressive look to the overall construction, which is why I shaped the pommel with such sharp lines,” he remarks. “To match the guard I kept those similar shapes and lines on the outside while smoothing the areas that would be gripped in order to make it comfortable for the user. The brass pommel and guard were an excellent choice as I knew they would patina in a way that would fit the overall rustic look and feel I was going for, while the African blackwood handle complemented that look exactly how I hoped it would. It perfectly fits the profile of an old coffin with its rich lines and bold grain, tying the entire theme of the piece together.”
