The BLADE Blog w/Steve Shackleford

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Proper Knife Fit and Finish Defined

good and bad plunge cuts
Plunge cuts should reflect each other in terms of symmetry on each side of the knife blade. The plunge cuts at left do so and the ones at right do not. (B.R. Hughes image)
Satin-finish symmetry
Note the symmetry of the satin finish flowing from the plunge cut to the tip of the blade on John W. Smith’s SD-2 tactical knife. (SharpByCoop.com image)
blade centered in handle
The blade should be centered in the handle when the knife is closed, as on Brian Nadeau’s folder. (SharpByCoop.com image)
correspondence of shapes and sizes
There should be a correspondence in shape, size and lines between both sides of the knife’s blade and handle, as on these fighters made by Charles Vestal for members of the Custom Knife Collectors Association. (SharpByCoop.com photo)

Fit and finish is a term used to identify the earmarks of a quality made knife. In a nutshell, fit and finish is an arrangement of balanced proportions and symmetry in the entire piece.

With the dividing line being the knife’s spine, there should be a correspondence in shape, size and lines between both sides of the blade and handle. The blade tip must be centered, as should the grind as it moves along the blade toward the ricasso. The blade must have no warping, nor should it exhibit bends where there should be none. The entire run of the blade’s bevel lines, whether primary or secondary, must be even and straight. There should be no flaws, imperfections, wrinkles, creases or cracks in the blade’s surface, nor, in the case of a forged blade, can there be any bad welds. The blade’s finish, whether bead blast, satin, mirror polish, stonewash or what have you, must be consistent throughout the area of the blade to which it is applied.

There should be no gaps between the handle material and the bolster, nor the blade and the guard. The handle sides must have equal thickness and be contoured evenly and smoothly. All materials should be rich and vibrant. For example, if ironwood, it must have nice striations instead of just being a blank piece of wood.

In addition to the above, if the knife is a folder there should be no gaps or differences in elevation between the backspring and the blade when the knife is open. There must be smooth opening and closing of the blade, and the blade should snap both open and closed—known as “walk and talk” among old-time pocketknife collectors. The blade must exhibit little to no vertical or horizontal wiggle, ride dead center in the handle when the knife is closed, and, if a multi-blade, the blades should not rub against each other upon opening and closing.

HOW to LOOK for PROPER FIT and FINISH

guard and blade fit
There should be no gaps in the knife’s joints, such as between the guard and blade. Mark Knapp’s fixed hunter exhibits a nice guard-blade fit. (SharpByCoop.com photo)

•A loupe/magnifier is unnecessary. Average eyesight is fine. Check the knife in standard light conditions;

•Rotate the knife slowly and study it from all angles;

•Examine folders with them in both the open and closed positions. Feel how smoothly the blade opens, closes and locks into place;

•Remember, no knife is perfect. Each one will have at least one minor imperfection. Learning to recognize the differences between such a knife and one with poor fit and finish requires attending knife shows and handling and studying as many knives—with each individual maker’s permission, of course—as you can.

Finally, while checking for proper fit and finish is a great way to identify a well-made knife, the fact that a knife has proper fit and finish does not necessarily mean that it will cut, feel right in your hand or even be all that attractive to you. The latter three are things you must be determine for yourself.

Kickstarter Campaign for Documentary of Knifemaker Eddie White

 
Shadowland is a documentary about a knifemaker who spent most of his career working in the shadows of other knifemakers and knife companies. He finally set out on his own and has made a success of it in these hard times of recession, nonetheless.
 
That fella’s name is Eddie White.  We’ve been friends since we were in the Boy Scouts together and when he came home from the Navy he was looking for something to do.  I had a custom knife shop and offered Eddie a job.  On his first day I showed him how to grind a blade and as his dad says “and from there he went.”  He was good at it and it wasn’t long before he was grinding 70 knives a day.  Mind you that these blades were already profiled and just needed the blades ground, but still quite a feat.
EdgeGrind1.JPG
He spent years repeating that process and knife assembly for various knife shops before striking out on his own.  I thought it would be a good idea to document how he progressed in the custom knifemaking business and give an inside look at the challenges a craftsman like Eddie faces in keeping the business going.  There is also plenty of footage of Eddie carrying a knife from start to finish.  While not a tutorial it does give you an idea of how to make a knife and not work yourself to death.  Because if anyone knows efficiency and economy of movement it’s Eddie White!
 
 

Please take a moment to check out the project on Kickstarter.

Shadowland Documentary Project at Kickstarter.com

Michael Krein and Tom Burch—er, Make That Michael Burch and Tom Krein

For the record: that is Michael Burch at top and Tom Krein below him. (Krein photo by Mike Searson)

    Two of the most important things about a person are his/her name and likeness. As Blade Magazine Cutlery Hall-Of-Fame© member Bruce Voyles stresses, “I don’t care what they say about me as long as they spell my name right.”

    A person’s likeness is equally—some might even argue more—important than his/her name. All of which came crashing down on me on page 42 of the April BLADE®.

    On that page is the likeness of knifemaker Tom Krein. Only problem is, the caption identifies him as maker Michael Burch. The knife on the page is by Michael and, for some reason I cannot quite fathom, I gave instructions for our graphic designer to insert the likeness of Tom with the knife, thinking it was Michael’s likeness. I know Tom when I see him and I know Michael when I see him. Again, I can’t explain my mistake.

    I could blame it on Mom. I have two sisters, Chris and Juli, and a brother, Pat, and, for as long as I can remember, Mom has often called each of us a smorgasbord combo of all four. “Uh, Chris-Juli-Pat-Steve,” she goes through a checklist of all four names before finally arriving at mine, “tuck your shirt in, stand up straight,” etc. On the other hand, she has never mistaken me/my picture for any of my siblings/their likenesses (though on more than one occasion during my misspent youth she made me wish she had).

    Similarly, at last year’s BLADE Show I saw Gavin Hawk, talented knifemaking son of talented knifemaking father Grant, walking into the show, and for some reason I called him Grant. “That’s Gavin, Steve, Gavin!” he stressed. I sheepishly ducked my head and muttered, “Oops! Sorry.” Of course, I can understand Gavin’s frustration. He no doubt is called Grant from time to time, it being natural for people to associate him with his father, and he is no doubt extremely proud to be the son of such a creative dad. At the same time, Gavin wants to be recognized for his own achievements, and understandably so.

    In case you think I am getting old and forgetful—which, of course, I am—there have been a number of times over the years when I wasn’t so old that I misidentified people in person, too. There was the time at a Guild Show when I stopped at knifemaker Dennis Bradley’s table and carried on a conversation with him for several minutes, calling him Gayle (after knifemaker Gayle Bradley) repeatedly. Finally, when we were through talking, he said, “And oh, by the way, I’m Dennis.” Ugh. I slinked away.

    Another is production knife guru Vince Ford. On more than one occasion I have called him Paul, thinking he was knifemaker Paul Fox. Each time Vince has been gracious enough not to lose his temper, just shaking his head and giving me that funny little look he gives so well.

    On the other hand, some people in the knife industry simply look like others. I always thought in his later years Cutlery Hall-Of-Famer Bob Loveless resembled the older, heavier Peter Lorre. (And no, I never told Bob that. What, do you think I have a death wish or something?) I also think our managing editor, Joe Kertzman, looks like retired Major League Baseball catcher Mike Piazza. Heck, one time Mrs. Debbie Voyles told me I looked like Tom Hanks. Of course, that was a long time and many hair follicles ago. Or maybe it was just that I reminded her of Forrest Gump.

    Anyhow, I caught my mistake with Michael and Tom, though it was a day late and a dollar short—the day after the April BLADE went to the printer. I immediately fired off an e-mail with the subject line, “Man, did I screw up!” to Michael and Tom, as well as Mike Searson, the photographer of Tom’s picture that we used. Both Michael and Tom were equally gracious. “Now that will be funny!” Michael replied via e-mail. “I always wanted to be Tom for a month.” Not to be outdone, Tom e-mailed, “No worries! Michael never looked so good!”

    Thank you, Michael and Tom, for being good sports. And thank you, BLADE readers, for putting up with a well-meaning but often all-too-imperfect editor.

For more on the latest knives, knife legislation, knifemaking instruction, knife trends, knifemakers, what knives to buy and where and much more, subscribe to BLADE® Magazine, the World’s No. 1 Knife Publication. Click on http://www.shopblade.com/blade-magazine-one-year-subscription-us for more information.

Fox News Analyst Knows Knives And Uses Them, Too

Fox News analyst S.E. Cupp (at right in accompanying photo), who will appear on the Don Imus Show tomorrow morning on the Fox Business Channel, is a huge supporter of veterans and wounded veterans. She recently attended a hunting trip for wounded veterans coordinated by Blade Magazine Cutlery Hall-Of-Fame© member Ken Onion (left in accompanying photo) and others. In the process, Cupp got elbow deep dressing out a bear and also learned how to throw knives made by Bobby Branton.

“I donated a set of throwing knives to Ken Onion to keep them busy between hunts,” Branton stated. “Ken said that they threw them 15 hours a day for three days. He sent a picture of S.E. Cupp throwing and he has video, too. He said she caught on quick and turned out to be a good thrower. I’m proud everyone enjoyed my knives.”

Thanks to Onion, Branton and others, the wounded vets had a great time, and Cupp was exposed to the world of custom knives—good news on all fronts.

Custom Pocket Clips: Sal’s Pals

Zieba's rose gold clips
The serpentine titanium clips on Michael Zieba’s folders are finished in rose gold. (PointSeven image)
Butch Ball's damascus trailing point clips.
Damascus trailing-point clips adorn Butch Ball’s pearl folders. (PointSeven image)

 

C15 with pocket clip
Spyderco’s first factory/custom collaboration, the C15 designed by Bob Terzuola, sported a pocket clip.
short skeletonized clip
A short, skeletonized clip distinguishes Lucas Burnley’s Asian folder. (PointSeven image)

Custom knifemakers seem to introduce most knife innovations, which are then emulated by factory knife companies. Not so with custom pocket clips. BLADE Magazine Cutlery Hall-Of-Fame© member Sal Glesser popularized knives with pocket clips in his Spyderco production line, and custom knifemakers took their cue from him. As a result, today’s custom pocket clips might well be called “Sal’s Pals.”

mokuti pocket clip
Craig Camerer employs mokuti for the long, curved clip on his folder. (PointSeven image)

Celebrating its 40th anniversary this year, Spyderco offered its first knife with a pocket clip—and also the company’s trademarked blade opening hole—in 1981 when it introduced the Worker model. Spyderco also popularized serrations on sporting folding knives.

The fact that custom knifemakers adopted the pocket clip, as did factory knife companies everywhere, should come as no surprise. For one thing, the clip’s abilities to attach a closed folding knife to the lip of your pocket rather than having the knife bang around in the bottom of it with car keys, coins, etc., and to make it much easier to retrieve are eminently practical. In addition, Spyderco has offered many factory/custom collaborations—knives designed by custom knifemakers and then reproduced by a company, in this case Spyderco. The first of these was in the early 1990s—the C15 designed by Bob Terzuola, which, of course, also had the blade hole and a pocket clip.

Today’s custom versions of the pocket clip run the gamut, including long ones, short ones, tall ones, round, anodized ones, rose gold ones and more.

For instance, Michael Zieba won Best New Maker at the 2016 BLADE Show for his S2 standard and mini models with serpentine titanium pocket clips finished in rose gold.

Short, cross-hatched clip
Ken Onion’s folders have a short, cross-hatched pocket clip. (PointSeven image)

On the other end of the scale is Lucas Burnley’s Asian-style folder with a very short skeletonized clip, while Butch Ball offers trailing-point damascus clips on his pearl-handle folders. Craig Camerer presents a long, curved clip in mokuti on his damascus folding knife, while Cutlery Hall-Of-Fame member Ken Onion opts for a short, cross-hatched clip on one style of his folders.

These are but a few of today’s custom knifemakers who took their cue from Sal Glesser and his utilitarian pocket clip. Hey, if you’re going to emulate someone, emulate the best.

 

 

 

 


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Knife Of The Day XII

    

     Our Knife Of The Day XII is Joel Worley’s tapered-tang straight knife with a 5.5-inch fileworked blade of a raindrop-pattern damascus forged from 1080 and 15n20 carbon steels. A flared finger groove doubles as a guard. The handle is sheep horn and the belt sheath features pit viper inlay.

     For more information contact Joel Worley at [email protected] or visit jaworleyknives.webs.com.

     For the latest knives, knife trends, knifemakers and more, subscribe to BLADE® Magazine, the World’s No. 1 Knife Publication. For subscription information click on http://www.shopblade.com/product/blade-magazine-one-year-subscription-us/?r+ssfb291211#BL1SU

Knifemaker Norman Bardsley Passes Away

Long-time knifemaker Norman Bardsley of Pawtucket, Rhode Island, passed away yesterday.

     Probably best known for his fantasy knives, Mr. Bardsley also made working knives. His patterns included fighters, boot knives, and renaissance and native American styles in upscale and presentation fashion. He used exotic hides for his sheaths.

     Among others, Mr. Bardsley made knives for such actors as Geoffrey Lewis, known for his role as Clint Eastwood’s sidekick in Everyway Which Way But Loose, the leader of the trio that seeks revenge on the town of Lago in High Plains Drifter and other films.

     Mr. Bardsley’s funeral arrangements are pending.

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