Here are BLADE Magazine’s Featured Knives of the Week. Browse through these articles to find the best knives available from both custom knifemakers and factory knives.
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“That’s not a knife. That’s a knife!”
In a fun online article, GlobalFlare.com named the 5 Knives Crocodile Dundee Would Own. On top of that list was the TOPS Knives Tom Brown Tracker.
Find out what the other four knives made the list.
For more knives like the TOPS Tom Brown Tracker, and even those Crocodile Dundee might carry, click here.
What knife would you choose for Mr. Dundee?
Knives take on many shapes and sizes. As tools, their designs sometimes focus on specific tasks. In the case of the drawknife, it is designed for woodworking. Drawknives have been found to date back to the Viking era more than a millennium ago.
The design itself takes many different shapes for a variety of purposes. At times, it is not referred to as a drawknife but, at first glance, you can see the relationship and how a number of tools can be considered part of the same family. As with any tool, different cultures have different interpretations of how the tool should be designed.
A drawknife is a single-beveled blade placed between two handles. The tool gets its name from how it is used. You simply grab both handles and draw the knife towards you bevel up. Controlling the angle that the blade enters the wood will control the depth of cut. A steep angle will get you a deeper, more aggressive cut but will also require more effort.
Lowering the angle makes for a shallower cut and also gives you a finer finish as the material is removed less aggressively. Some designs have long handles on plane with the blade. Other designs have the handle tight in and below the plane of the blade. No matter where the handles are, the action is the same but the point of control changes.
When working with a narrow stock up to two inches wide, it’s easy enough to draw the knife straight back toward you. On wider stock, it is better to skew the knife. Skewing the knife provides a leading edge and causes less resistance during the cut. When working with hardwoods you want to keep the cut light, as the dense grain provides more resistance and bogs the knife down.
Learning to use a drawknife properly is a bit like working a puzzle. The easiest way to make a cut is to work the facets of the material. For instance, say we are working on a piece that is square. To shape the piece to the required size it is easier to work the corners down, creating more corners until you get to your desired shape. By working the flats, you must use more energy and struggle to make a cut.
When first using a drawknife, the tendency is to use your arms to power the tool. Instead, use your back muscles, which are larger and less likely to fatigue quickly. Draw the knife back as if you were using the same muscle for rowing. If done right, it should feel like your shoulder blades are trying to meet in the middle of your back. For safety’s sake, keep your elbows in tight. As you draw the knife back your elbows will hit your core acting as a safety stop, preventing you from slipping and cutting yourself.
A debarking knife is usually a larger style of drawknife used for extracting bark from logs. They are larger and heavier than their woodworking counterparts so that you can blast through the bark.
It has been my experience that when working green wood, the knife doesn’t need to be kept as sharp. In fact, it is somewhat more helpful to keep the knife a bit dull when cutting green wood so as to avoid diving too deep into the wood itself. On seasoned logs, because of the lack of sap between the bark and sapwood, I find it better to have the knife a bit sharper.
Woodworking drawknives come in a variety of shapes and sizes. The two main types I have used: English and German. The English style has a blade that bares a slight arch and the handles are on the same plane as the blade. German-style knives have handles that sit lower than the blade and the blade tends to be straight. The knives’ handles can vary. Most of mine have a pear-like shape. There are other styles like a round knob style, which is a ball shape.
Specialty styles of knives include any drawknife that is shaped to obtain a specific result. A cooper’s knife is shaped to accommodate the making of barrel staves. I also have a handle-making knife. The handle-making knife is a tight arch designed to make handles for things like brooms or garden implements. The basic shape is a half circle, so instead of trying to round a piece off by angling a number of cuts, you get a piece of wood close to size and simply let the knife shape it.
A Scandinavian invention, the push knife is similar to a drawknife in that it has a blade attached by two handles on either side. Using a push knife is different in the way that you are expected to force the edge away from your body instead of pulling it toward you. Unlike a drawknife, the handles come straight out from the sides, which allows you to either push or pull the knife. I normally use the knife in the manner that gets the job done—meaning on occasion I will draw the knife toward me rather than push.
Technically, scorps are not drawknives. However, in terms of looks and use you can’t help but lump them in the same family. I have a chair maker’s scorp that is designed to hollow out the seats of chairs. On older chairs is a slight depression where the person sits. A chair maker’s scorp was used to produce the shape. The tool operates just like a drawknife except it has a shorter blade with a more pronounced arch.
Like any other cutting tool, a drawknife must be sharpened. Perhaps the trickiest part of sharpening a drawknife is finding a way to brace it. I find dynamic sharpening the easiest way to sharpen a drawknife. I brace the knife and move the sharpening medium instead of the other way around. One way to brace the knife for sharpening is to put one handle in your armpit and hold the other handle in your off hand. Once the knife is braced this way, take a stone to it. Another way is to brace one handle on the bench, lean your chest on the other handle, and then begin sharpening. Keep in mind a drawknife must be sharp (except where noted previously) but since it is not necessarily a fine woodworking tool, don’t get carried away.
YouTuber James Wright shows you how to sharpen a drawknife using a set of sharpening stones in his shop.
Lastly, keep it oiled. Even the newer ones are not made from new high-tech steels. Most are from simple carbon stock and a light coat of oil goes a long way. Among others, Flexcut offers a contemporary drawknife.
Beyond drawknives and planes, there are many other types of wood carving knives out there that can help with some of the finer points of woodworker. Small, nimble wood carving knives like a sloyd knife or a spoon knife.
A sloyd knife is a short, sturdy blade good for small, finite carving tasks. A spoon knife, as the name suggests, is meant to carve out the concave scoop of a spoon but can be used for any other situation where you are trying to create a concave dip in the material.
There are certainly more than just these few tools to being a successful woodworker, but knowing how to use wood carving tools big or small can get you on the path to success.
Long before there was solar power, fossil fuel power, steam power, etc., there was muscle power. Humans developed the world using tools with muscle and sweat. There is something satisfying about making something by hand. The feel of a good day’s work is sometimes what the soul needs. A drawknife not only gets the job done but also gives you an accomplishment to savor.
Where To Buy A Drawknife
Calling all bladesmiths and knifemakers: the Guilford Art Center in Guildford, Connecticut, announces “Contemporary Knife Smithing: A Juried and Invitational Exhibition,” and is calling for submissions.
Bladesmithing is a thousands-year-old craft practiced in diverse cultures across the world. It has survived as an art form despite modern industrialization, with artisans dedicated to preserving and expanding traditional techniques. This exhibit will explore and highlight the artistry of the contemporary hand-crafted knife, as an object with both functional and aesthetic value.
Exhibit Dates: July 10-August 18, 2013
Juror: An ABS journeyman smith, Mace Vitale practices blacksmithing and is a copper smith. He has a background in architectural pre-cast concrete, is owner of Laurel Rock Forge in Guilford, and is an instructor at the Guilford Art Center.
Eligibility: This exhibition is open to knives made by U.S. residents.
Entries: Each artist may submit up to three (3) works. Each work may be represented by two separate images: one full view and one detail view. Work must be submitted in high-resolution digital format. For each entry please note dimensions of knife, and a maker’s list price (retail price), or not-for-sale/insurance value. Email entries to: [email protected].
Entry Fee for Applicants: $20. Includes up to three (3) submissions. Make check payable to Guilford Art Center and mail to 411 Church St., Guilford, CT 06437. Or call the Center with credit card number 203-453-5947. Payment must be received for entries to be eligible.
Entry Deadline: June 10, 2013. Digital images and entry fee must be received by this date.
Conditions: All accepted works must arrive with a display case that closes for safety purposes during exhibition. All entries must be original and must be completed within the last 3 years. The Center reserves the right to reject entries that do not meet these requirements or is deemed unstable. Shipped work that differs from submitted images will not be accepted. Work damaged in shipping will regretfully not be presented. All accepted work must have proper identification. No accepted work may be picked up before the closing of the exhibition. Work may be available for sale or must be identified as NFS. The retail price or insurance value provided on the entry form will be used; no changes may be made after the work is shipped.
Shipping: Shipping costs are the responsibility of the artist. A check for return shipping, including the cost of insurance, must accompany delivered work, payable to Guilford Art Center. Work damaged in shipping will not be presented. Detailed packing/handling instructions must accompany all works.
Hand Delivery: Please call the Center to make an appointment for hand delivery/pickup at 203-453-5947, Ext. 12, or email [email protected].
Receiving Deadline: All work must be received no later than these dates.
Sales/Insurance: A 40% commission on all sales will be retained by the Center. Artists must indicate sale price and insurance value or, if NFS, just insurance value. Submission of work to this exhibit is done so at the artist’s risk and implies an agreement on the part of the artist to all the conditions of this Call for Submission. GAC will not be responsible for loss or damage to work in transit, however, work will be insured while in the Guilford Art Center facility.
Publicity: Guilford Art Center reserves the right to photograph entries for the purposes of documentation, education and publicity. Accepted artists are encouraged to send to the Center a resume, artist statement, brochures, and additional photographic materials of the accepted work for publicity purposes.
Show Schedule:
Application due: June 10, 2013
Artist Notification: June 14, 2013
Receiving: June 24-28, 2013 (10am-4pm) (Shipped/by appointment)
Opening reception: July 10, 2013 (5-7pm)
Closing: August 18, 2013
Deinstallation: August 19-23, 2013 (10am-4pm) (Shipped/by appointment)
For more information please contact Guilford Art Center at 203-453-5947, or visit www.guilfordartcenter.org.
OK, take off the dirty shop apron, remove the safety glasses, and go to the workbench and pull out the notepad and pencil. Now, add Llannoite to the list of incredible knife handle materials available to honest, hardworking knifemakers across the land. While you’re at it, add the Bill Keller locking-liner folder to the list of “Editor’s Favorites from the Knives 2013 Book.”
Knifemaker Bill Keller not only saw the brown hues within the makeup of Llannoite, but the blue, as well, and brought it out nicely through the use of blue-anodized bolsters and liners. Each complements the Chris Marks “lizard-skin”-damascus blade, filework and inlaid blued-titanium thumb stud. (Johnny Stout photo)
A December 2014 feature article by staff writer Phil Perry online and in the Lincoln Times-News of Lincolnton, N.C., mentions BLADE® Magazine and KNIVES 2015. A knifemaking feature on ABS journeyman smith and commercial pilot Steve Randall, it starts:
Often, when a craftsman pursues the road to independence through a business venture, they are inspired by a lifetime of collecting or being exposed directly to the craft. That wasn’t necessarily the case for Lincoln County’s Steve Randall, who has made an international name for himself crafting custom hand-forged knives from his workshop on the eastern end of the county.
“As an avid survivalist, I have used knives all my life,” he said. “I never collected them or thought a whole lot about it. Once I was bitten with the bug I have been obsessed with it ever since.”
Things changed in 2009 when Randall started “KSR Blades” and built an extension onto his garage to house the vast amount of forging equipment needed to facilitate his burning passion to produce high-quality hand-forged knives.
“I made my first sale on eBay and I was pretty excited,” Randall said. The ABS journeyman smith doesn’t sell his product on auction sites these days. Having been featured in national magazines like “Knives Illustrated,” “BLADE® Magazine” and four of his creations featured in “KNIVES 2015,” Randall has a one-year backlog on special orders and also ships to Germany, Sweden, Australia and Canada.
Click here to read the rest of the article.
Recommended:
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“A knife capable of movement and gifted with intelligence …”
—Jean-Marc Laroche
“On fitting your hand into that of the knife, you already feel a strange clasping in response when, suddenly, the mechanical fingers close! You can’t get free! With the same movement, an eye opens and stares at you intensely. It’s awake! Now you are under its control, and the knife is master of you who dared to take it in your grasp.”
Above: The Living Knife by Jean-Marc Laroche features a mechanical hand for a handle that, as you grab it, literally grabs you back. The damascus blade is a composite of 15N20, 15LM and UHB11 high-alloy nickel and carbon steels in explosion, twist and random patterns forged by Swedish maker Roger Bergh. Overall length: 25 inches. (images courtesy of Jean-Marc Laroche)
In addition to the above, French knifemaker/artist Jean-Marc Laroche refers to his latest creation—this issue’s cover piece—as “The Living Knife.” Since it has a “hand” for a handle with “fingers” that close, an “eye” and an overall lifelike appearance, who are we to argue? As you grab the handle, the “fingers” actually grab back so that it’s hard to tell who’s holding whom. And, as the fingers grab your hand, the “eye” opens. The hand also is embellished with gears in the Steampunk style.
The Living Knife is indeed a most unusual creation—but then Laroche has been making otherworldly pieces for over two decades. Even by his standards, though, this one takes his knife art into uncharted territory.
“It was from the cinema of fantasy films that I drew my inspiration,” he notes. “It took me 12 years to implement my idea, six months to carry it out and a fair number of technical difficulties had to be overcome.
“Yet here it is, like a cunning thing from another time that a mad inventor out of the 19th century would have dreamed up. This biomechanical being activates its workings to move its fingers; it seizes control of the situation with its eye’s intelligence.”
The Living Knife is an assembly of mechanical parts, the prototype having been made in resin. A few rare versions in bronze, gold and silver are in the process of being forged.
“Swedish knifemaker Roger Bergh participated in this project. Indeed, I have been talking to Roger about it for 10 years and he has always been enthusiastic,” Laroche observes. “Roger first forges damascus steel to obtain various types of structures; he then assembles them into magnificent combinations. A world-renowned knifemaker, he has remained down-to-earth and open. Working with him is a real pleasure.”
BLADE® first learned of Laroche at the 1992 East Coast Custom Knife Show, where his knives with “alien-head” handles were a show hit. The alien heads were those of animals he customized and coated with a special resin.
In 1997 Laroche’s “Mother Ship with Fighters”—a set of four knives including one large one and three smaller ones with dagger blades and curved, claw-like guards—was a winner of the annual BLADEhandmade Best In Show Award. His “Byakhee,” a spectacular knife with a handle resembling a large, bat-like bird inspired by the science-fiction stories of H.P. Lovecraft, won Best Fantasy Knife at the 1998 BLADE Show West.
Laroche introduced The Living Knife to an appreciative audience this past June at the FICX, an invitation-only knife show in Paris that also featured a few U.S. makers, including Kevin Casey. It was Jean-Marc’s first knife show since 2002. Since then he had been involved in other forms of sculpture and exhibiting them worldwide.
Actually, The Living Knife is not Laroche’s first attempt at such a piece, his “Devil Hand” predating it. However, the Devil Hand did not have the mechanical grasping capability, the same materials or other select features of Laroche’s newest rendition. Laroche said he also has made two knives similar to The Living Knife, the first being sold to the Instituto Ricardo Brennand (http://www.institutoricardobrennand.org.br/index2.html), a museum in Recife, Brazil.
For a video on how The Living Knife operates, watch the video below:
New from Sarge Knives is the SK-934, also known as the Tom Kreger Carolina Field Knife. Among the crowded field of fixed blade knives for outdoor duty, this one stands out for the little extras that come with it, along with an outstanding price point. That’s why it’s a BLADE featured knife.
That’s a bone handle for starters, polished off with red liner and brass fasteners. It adds up to a handsome look and feel.
The steel on the 3.5-inch, mirror polish blade is 440C stainless. The drop point offers plenty of room for the thumb along the spine. This increased control is important when the job gets demanding.
When paired with the handle, the overall length of the Tom Kreger Carolina Field Knife is 7.5 inches.
As a finishing touch, Sarge Knives is offering a black leather sheath with each Tom Kreger Carolina Field Knife. That’s real leather, not the plastic stuff that sometimes gets passed off as such.
Here’s the best part. The price point clocks in at only $59.95. That’s one heck of a deal.
To recap, here are the specs again:
You’ll have to go right to Sarge Knives to get this super deal. Click here to get a Tom Kreger Carolina Field Knife for just $59.95 from Sarge Knives.
