Knife Steel After Crucible Industries LLC

Niagara will help fill the shoes of an industry icon.

The recent demise of Crucible Industries LLC not only marked the end of a celebrated name in the manufacture of blade steels, it denoted the dawn of a new age—not only for the steels famously known by their CPM prefix, but other premium blade materials as well.

Used by Crucible and short for Crucible Particle Metallurgy*, CPM prefixed such Crucible steels as CPM S30V, CPM S35VN, CPM MagnaCut—today’s hottest CPM variant—and others among some of the most-used blade materials since Chris Reeve Knives popularized S30V on Reeve knives beginning in 2004-2005. S30V, in fact, was the first modern steel manufactured specifically for knife use. All other manufactured steels used in blades were originally made for purposes other than knives.

CPM S45VN is one of several of the old Crucible steels Niagara offers. The Defiant7 Auto Eagle has a stonewashed blade of the stainless steel and a black aluminum handle. Blade grind: flat. Weight: 4.4 ounces. Designed by Les George, it’s 4.75 inches closed. Country of origin: USA. MSRP: $285.
CPM S45VN is one of several of the old Crucible steels Niagara offers. The Defiant7 Auto Eagle has a stonewashed blade of the stainless steel and a black aluminum handle. Blade grind: flat. Weight: 4.4 ounces. Designed by Les George, it’s 4.75 inches closed. Country of origin: USA. MSRP: $285.

Crucible closed its doors earlier this year and sold most, if not all, of its assets at auction in February. So what happens to all those wonderful steels that both the factory and custom knife industries use in mass quantities?

According to Bob Shabala of Niagara Specialty Metals (NSM), NSM will do its part to have/supply most, if not all, of them, as well as other up-and-coming steels, to the custom and factory knife industries.

Among custom knifemakers especially, CPM 154 stainless is extremely popular. Craig Brosman employs it in a hollow grind and amber-dyed European red stag on his utility fixed blade. Overall length: 7.5 inches. (SharpByCoop image)
Among custom knifemakers especially, CPM 154 stainless is extremely popular. Craig Brosman employs it in a hollow grind and amber-dyed European red stag on his utility fixed blade. Overall length: 7.5 inches. (SharpByCoop image)

Opined Scott Devanna of steel service center SB Specialty Metals, “The majority of steel sheet in the U.S. comes out of Niagara. They’re the only [domestic mill] that can make it right now. It’s been that way for the last 25 years. They’re the only game in town.”

Erasteel And The Name Game

Erasteel, with state-of-the-art steel mills in France and Sweden, is owned by Syntagma Capital, a private equity group based in Brussels, Belgium. Erasteel acquired a part of the assets of the old Crucible Industries during the February auction, including working capital, steelmaking equipment and, perhaps most importantly, the trademarks for all the CPM steel names. A manufacturer and supplier of steels not only to the knife community but also the aerospace and other hi-tech industries, NSM had worked with Erasteel before the auction, processing millions of pounds of the Swedish mill’s steel for industrial applications.

The 4.75-inch blade of Jacob Gaetz’s Large Field Hunter is CPM 3V carbon steel cryo-treated to a Rockwell hardness of 60-61 HRC. Handles are Apocalyptic box elder burl (left) and vintage Micarta® (right). Overall lengths: 9.875 inches. (Jocelyn Frasier image)
The 4.75-inch blade of Jacob Gaetz’s Large Field Hunter is CPM 3V carbon steel cryo-treated to a Rockwell hardness of 60-61 HRC. Handles are Apocalyptic box elder burl (left) and vintage Micarta® (right). Overall lengths: 9.875 inches. (Jocelyn Frasier image)

“We’d been doing that for several years,” Shabala noted, “so we know the quality of their steel is good.”

Together with Crucible, Erasteel is the pioneer in gas-atomized metal powders and started with the process in 1969. Today, it has the largest installed capacity in the world to produce metal powders, with two large atomizers built and designed by Erasteel.

Shabala said NSM officials understood their knife customers wanted the assorted CPM steels to keep the old names to avoid confusion among knife-buying consumers.

“They didn’t want to change the names and have to educate consumers on what the new names would be and how they related to the legacy Crucible names,” he explained.

The Cold Steel Recon M1 sports a black-coated blade of MagnaCut stainless, which remains the hottest of the CPM steels used by both factory and custom segments of the sporting knife industry. Handle G-10. Lock: Atlas Lock. Weight: 5.2 ounces. Blade and closed lengths: 4 and 5.5 inches. Country of origin: Italy. MSRP: $309.99.
The Cold Steel Recon M1 sports a black-coated blade of MagnaCut stainless, which remains the hottest of the CPM steels used by both factory and custom segments of the sporting knife industry. Handle G-10. Lock: Atlas Lock. Weight: 5.2 ounces. Blade and closed lengths: 4 and 5.5 inches. Country of origin: Italy. MSRP: $309.99.

Meanwhile, the two companies reached an agreement where if NSM buys the steels exclusively from Erasteel, NSM can use the original names too, including S30V, S35VN, S45VN, MagnaCut, S110V, 3V and CPM 154. NSM and its customers can still use the full designation of CPM S30V, CPM S35VN and so on, though the customers can omit the CPM if they so choose.

“The reason we’re keeping the CPM 154 name is because everybody knows that it’s the powder metallurgy version of 154CM, so we want to keep that designation alive so people will know what’s going on there,” Shabala noted.

There will be a couple of exceptions. The steels formerly known as CPM Cruwear and CPM S90V will be renamed NSMwear and NSM 90PM, respectively.

Niagara is both a manufacturer and distributor, not only of knife steel but also steel for the aerospace and other industries. It is employee owned and employs 41. (NSM image)
Niagara is both a manufacturer and distributor, not only of knife steel but also steel for the aerospace and other industries. It is employee owned and employs 41. (NSM image)

“Erasteel already had an agreement with another distributor to buy Cruwear exclusively, so we worked out a deal with them where we can buy the steel, we just can’t use the name,” Shabala explained. “It’s on us to educate people and let them know they can still get CPM Cruwear, it’s just a different name.”

As for CPM S90V, NSM already had Carpenter Technology’s version of it in stock and wanted to rebrand it so that it’s not sole-sourced to one mill. By renaming it NSM 90PM, “hopefully people will understand that it’s coming from us,” Bob said.

Steel Tariffs

Concerning steel supplies in stock, Shabala indicated NSM officials had been aware of Crucible’s coming demise, and in January 2024 began ramping up purchases to build inventory for any future supply disruptions.

Dennis Friedly opts for CPM 154 stainless blade steel and a mammoth tooth handle for his Art Knife Invitational fighter. The copious engraving is by Ray Cover Jr. Overall length: 13 inches. (SharpByCoop image)
Dennis Friedly opts for CPM 154 stainless blade steel and a mammoth tooth handle for his Art Knife Invitational fighter. The copious engraving is by Ray Cover Jr. Overall length: 13 inches. (SharpByCoop image)

“We started placing orders with Carpenter and Erasteel in September 2024, though not knowing Erasteel would be the eventual owner of the CPM trademarks,” Shabala noted. “The steel we bought in September is starting to arrive. There will be some disruptions in MagnaCut and CPM 154, but everything else we still have a decent amount of and there should be no disruptions.”

In case you hadn’t heard, President Trump has instituted tariffs on most countries, including France and Sweden. At press time, the European tariff was 25 percent.

“Everything we buy from Erasteel as it stands right now is subject to a 25 percent tariff,” Shabala said. “Even the steel we buy from Carpenter, the powder for it is atomized in Sweden, so that’s subject to at least a 10 percent tariff.”

Dennis Friedly opts for CPM 154 stainless blade steel and a mammoth tooth handle for his Art Knife Invitational fighter. The copious engraving is by Ray Cover Jr. Overall length: 13 inches. (SharpByCoop image)
Dennis Friedly opts for CPM 154 stainless blade steel and a mammoth tooth handle for his Art Knife Invitational fighter. The copious engraving is by Ray Cover Jr. Overall length: 13 inches. (SharpByCoop image)

Another concern is whether knife companies can continue to mark their knives built with NSM steel “Made in the U.S.A.” Bob said he is up front with his customers, telling them that Erasteel will be supplying a “good chunk of our CPM alloys,” though it’s all hot rolled at NSM.

The question becomes if the raw materials are imported but don’t officially become a steel until they’re hot isostatic pressed, does that make the steel American made or imported? He indicated it will be up to his customers’ lawyers to hash out what the customers can and can’t do concerning U.S.A. markings on their knives.

NSM Innovaions

What’s on the horizon at NSM? One thing is a new grade developed by steel guru Larrin Thomas. Called Magnamax, it won’t be widely available until the end of the year. Since NSM has both patented and trademarked Magnamax, it can have it made by any mill it wants, and had it on order with both Erasteel and Carpenter at press time.

Bob Shabala of Niagara Specialty Metals
Bob Shabala of Niagara Specialty Metals

Meanwhile, along with Erasteel, Bob had high praise for the steel being made by Carpenter.

“We’re getting powder now that is atomized in a vacuum furnace. It’s a step forward in quality. We hardly ever had an issue with any CPM product from Crucible,” he qualified, “but I think Erasteel’s and Carpenter’s steel has a finer grain size. It’s a little microscopically cleaner than what we were getting before, so it really is an opportunity to provide a better product.”

As Shabala noted, Carpenter has made lots of cutlery steel, and NSM has processed a huge amount of it, hot rolling it into sheets and sending it back to Carpenter’s warehouse for sale to various customers. One of Carpenter’s best-known steels is CTS XHP stainless.

“It’s a grade that customers really like,” Shabala said, adding that NSM had over 20 tons of it and was in the process of preparing to make a big marketing push on it at press time.

Having steel manufactured in the USA remains a big selling point with many of NSM’s customers, so the company remains on the lookout for new melt sources, one of which is Prime Metals & Alloys (PMA) of Homer City, Pennsylvania. A manufacturer and supplier of a wide range of steels for assorted hi-tech and other uses, PMA was in the process of making steel for NSM at press time, which Shabala seemed to think holds great promise.

Larrin Thomas, metallurgist and knife writer
Larrin Thomas, metallurgist and knife writer

“We should receive it in a couple of months, but if it works out it’s going to be an ESR version of stainless steel that we’ve always supplied, so it should be a noticeably better product than what our customers were used to before,” he said. “It’s really a good find for us to be able to get a higher-quality steel with a shorter lead time, so we’re really excited about that.”

ESR stands for Electro-Slag Remelting, a process that results in a very clean steel devoid of contaminants.

“In a traditional melting process, you heat the steel up, get it in a molten state, pour it in an ingot and that’s it,” and later forge and finish it out, he explained. “With ESR you take that ingot and you remelt it again and all the slag and contaminants float to the top, and they’re skimmed off. What remains in the new ingot is a cleaner version of the original.”

Shabala added that two different grades of NSM stainless steels that had always been air melted will now be ESR melted.

NSM’s Role

People often misunderstand a company’s role in any endeavor, and Shabala said that seems to be the case with NSM.

“Larrin Thomas was concerned that people had the misconception that NSM is just a distributor, that we just got sheets from Crucible and resold them,” he observed. “He said we should emphasize the fact that we’re a lot more than a distributor, we’re a manufacturer, we buy slabs of steel, we process it into the final dimensions and ship it. Cutlery is a big part of what we do. We do a lot with the aerospace industry, so we know a lot about quality standards.”

NSM is 100 percent employee-owned, so all 41 employees in its mill in Akron, New York, just outside Buffalo, own a piece of the company.

“Everyone here has a vested interest in ensuring that we’re successful and doing everything we can to put out a good product,” Shabala said.

A last point of emphasis Bob made was that just because Crucible went out of business doesn’t mean NSM is going out of business—in fact, far from it.

“We’re very financially sound. We just put out a $7 million upgrade in our sheet mill, we’re rolling out finished product, it’s the biggest expansion we’ve ever done and we’re getting ready to expand our grinding and laser-cutting capability,” he noted. “We’re really, really in good shape.”

*Editor’s Note: For more on the particle metallurgy process, visit Knife Steel Nerd’s post on powder metallurgy.

More On Steel:

Lansky Folding Tapered Diamond Rod Sharpener Vs. Serrated Blades

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The author tries out the Lansky Folding Tapered Diamond Rod Sharpener.

Over the years I’ve written a number of articles on sharpening. I have also taught countless sharpening classes covering everything from knives, saws to Forstner bits. Sometimes you need a special tool to get the job done. In the case of serrated edges, you need a dedicated sharpening tool. This time it’s the Folding Tapered Diamond Rod by Lansky. I will cover the basics of sharpening a serrated blade as well.

The two serrated blades I carry most is the one on my Leatherman Wave and my Spyderco Police. I am a property maintenance man and the Wave is like my right arm. The Police sends chills down the spines of people when I open it. Let’s get to sharpening them.

Keep It Simple

First off, there are those who would like to complicate sharpening by making it seem more than it is. At its core, sharpening is simply polishing two surfaces that meet at an edge. In the case of a serrated blade, the edge has a series of gullets (channels) and teeth. The different contours on a serrated edge require a sharpening tool that can accommodate such a surface.

Sometimes when sharpening a serration with a broad diameter, the author follows the secondary bevel across the edge instead of pushing the sharpener into the blade.
Sometimes when sharpening a serration with a broad diameter, the author follows the secondary bevel across the edge instead of pushing the sharpener into the blade.

Another feature of serrated edges is that a number of them are formed with a chisel-style grind. By chisel-style grind, I mean the secondary bevel to the edge is on one side only. Since serration patterns vary, you need a sharpener that will accommodate different sizes of teeth and gullets. A common form is the use of a cone. A cone-shaped sharpener should match the size of a serration somewhere along the cone.

Sharp Specs

Lansky has taken a tapered diamond impregnated rod and created a foldable handle that acts like a case for the rod. The style is not uncommon except Lansky takes the ergonomics a step further by making the injection-molded handle contoured for a more solid grip.

The author’s older Lansky folding sharpener (left) does not have a large enough diameter for some bigger serrations. Meanwhile, the new Lansky model (right) has a larger tip diameter than the older one, making it impossible to use on smaller serrations.
The author’s older Lansky folding sharpener (left) does not have a large enough diameter for some bigger serrations. Meanwhile, the new Lansky model (right) has a larger tip diameter than the older one, making it impossible to use on smaller serrations.

The diamond coating is electrostatic-plated to the rod, which is better than using an epoxy as some others do. Lansky uses a 600-grit coating. It is not an aggressive grit, though on the other hand you don’t want a grit that is too aggressive for serrations. If you get too aggressive of a grit, then a mistake can ruin the blade. The one issue I find with the Lansky is the tip of the cone is a bit large for some serrations. Other than that, I plan to get a lot of work out of this sharpener for years to come.

The Method

First, brace the blade you are sharpening against a stable surface. Position the blade’s secondary bevels up. I tend to prefer the dynamic style of sharpening in these cases, so I move the sharpener, not the blade. Match the angle of the secondary bevel when placing the rod in the serration.

There is often more than one way to do something. Here the author uses a ceramic sharpening rod whose diameter closely matches the serration.
There is often more than one way to do something. Here the author uses a ceramic sharpening rod whose diameter closely matches the serration.

Position the rod a bit before the diameter of the cone that matches the serration being worked on. You don’t want to start your sharpening stroke at the beginning of the cone as that will change the shape of the gullet. The intent is to remove as little material as necessary. If you start sharpening close to the beginning of the cone, you will cut into the gullet. Keep close to the diameter of the gullet and take short passes.

When finished, I check all the teeth to make sure they are still pointed. Then I briefly strop the opposite side of the blade with a compound-loaded leather strop. Just a couple of passes will remove the burr. Lansky lays out the static method in the directions, which means you move the blade along the rod. Try both methods and see which one works best for you. Everyone has their own preference. In the end it is more important to get good results.

Parting Cuts

Serrations shine when it comes to cutting fibrous materials such as cord, rope and nylon straps. At my shooting range, when I score a bunch of cardboard for backers, I usually use my serrated knife to cut the cardboard down to size.

A downside to the new Lansky folding sharpener is that it isn’t as compact as the older Lansky design (right).
A downside to the new Lansky folding sharpener is that it isn’t as compact as the older Lansky design (right).

It is best to maintain serrated edges. With a plain edge you can let it go then sit down with it and bring it back to life easy enough. Serrated edges I find it best to stay on top of and regularly give them some upkeep. Wearing down the tips off the teeth and blowing out the gullets just makes more work and creates more chance you will mess up the serrations.

If you don’t own a good quality serrated knife because you are concerned about sharpening it, then buy a cheap one and practice your technique. Lastly, if you own just one serrated knife outside your kitchen bread knife, make it the rescue knife in your car.

Lansky Folding Tapered Diamond Rod Sharpener
Abrasive: Diamond-coated rod
Rod length: 3.5”
Rod thickness: 1/16” at tip, ¼” at base
Grit: 600
Handle: Nylon
Sharp stuff: Sharpens serrated blades, fishhooks, gut hooks and more; the rod folds into the handle for protection and ease of carry
Weight: .2 oz.
Closed length: 5”
Open Length: 9”
Country of origin: USA
MSRP: $19.95

More Sharpening Articles:

Best Scissor Sharpeners: Where To Find Your Edge

Consider three cool tools to keep your scissors shearing sharp.

I sharpen knives frequently but must admit I’m a loathsome scissors sharpener. It’s not like I’ve never sharpened scissors but only when I had to and never in an organized way.

However, when my editor gave me an assignment on scissors sharpeners, I took it as a personal challenge to mend my ways—and off I went. What follows is a primer on scissors sharpening using three different systems.

Before starting, there are a few obvious things to point out.

The most obvious is the fact that there are two blades to sharpen instead of one. Second, the two blade edges are sharpened to oppose each other. Third, most scissors are made for righthanders and can give lefthanders fits, especially models with asymmetrical handles. Some southpaws have more trouble than others, and if you are among them you might seek out companies that either offer lefthanded models, such as Fiskars, or those that specialize in such products, like Lefty’s Left Hand Store. My brother’s lefthanded and he’s never bought any lefty scissors. Instead, he simply buys and uses symmetrical right-hand-only models.

Simple handheld or desktop scissors sharpeners are the way to go if you want to keep a decent edge with very little hassle and time consumption.

I tested two affordable versions: the AccuSharp ShearSharp Scissors Sharpener and the Smith’s V-Slot Knife & Scissors Sharpener. The pistol-grip-looking units appear similar at first but are actually quite different. The text and graphics on the back side of the cards the sharpeners are mounted on is very helpful, though if you’re like me you will need reading glasses to decipher them.

AccuSharp ShearSharp Scissors Sharpener

The AccuSharp ShearSharp Scissors Sharpener puts an edge on the blade bevels one side at a time. Here the blades are opened with one side resting on the flat work surface having the blade bevel sharpened. Note the other blade is off the surface. Once the first blade is done, the scissors are flipped and the second blade is sharpened in the same manner. (Covert image)
The AccuSharp ShearSharp Scissors Sharpener puts an edge on the blade bevels one side at a time. Here the blades are opened with one side resting on the flat work surface having the blade bevel sharpened. Note the other blade is off the surface. Once the first blade is done, the scissors are flipped and the second blade is sharpened in the same manner. (Covert image)

AccuSharp ShearSharp Scissors Sharpener
Size: 5.5 x 2.4 inches
Type: Hand-held, single sharpening blade
Abrasive: Tungsten carbide
Handle length: 5.6 inches
Handle material: Plastic
Country of origin: USA
MSRP: $9.59

The AccuSharp ShearSharp has a grip with a guard for knuckle protection and there’s a slot on the fore-end with a tungsten-carbide-metal sharpener for running down the blade bevel, sharpening it in the process. Open the scissors and lay the blades, one at a time, face-up to the sharpening medium. The rear blade—the one not being sharpened—hangs off the table or you can put it on a raised platform such as a wood block or book.

A hand-held design, the AccuSharp ShearSharp Scissors Sharpener addresses the blade bevels one at a time. You’ll need your reading glasses for these instructions, too!
A hand-held design, the AccuSharp ShearSharp Scissors Sharpener addresses the blade bevels one at a time. You’ll need your reading glasses for these instructions, too!

The ShearSharp metal sharpener is canted to the angle of the bevel and runs down the blade from base to tip, rear to front. Accusharp recommends two to three passes of the sharpener, then flip the scissors over and do the same to the second blade. As with all three test units, keep an eye on your progress as scissors come in all phases of disrepair.

Smith’s V-Slot Knife & Scissors Sharpener

The bevels are sharpened when pushing the scissors blade tips simultaneously into the respective V-slots of the Smith’s unit. The diagonally mounted ceramic rod sharpens both blades at the same time. (Covert image)
The bevels are sharpened when pushing the scissors blade tips simultaneously into the respective V-slots of the Smith’s unit. The diagonally mounted ceramic rod sharpens both blades at the same time. (Covert image)

Smith’s V-Slot Knife & Scissors Sharpener
Size: 6.75 x 2.74 inches
Type: Hand-held, two sharpening blades
Abrasive: Ceramic
Handle length: 6.75 inches
Handle material: Plastic
Country of origin: USA
MSRP: $9.99

Smith’s V-Slot Knife & Scissors Sharpener is a bit more sophisticated with great finger protection, and is easier to use. Inside the handle is a slot that holds a 1,000-grit ceramic rod angled to sharpen the two scissors bevels at the same time. The bevels are sharpened when pushing the scissors blade tips into the respective V-slots simultaneously. (Smith’s recommends not sharpening by pulling the blades out.)

You may need your reading glasses to decipher the instructions for the Smith’s V-Slot Knife & Scissors Sharpener.
You may need your reading glasses to decipher the instructions for the Smith’s V-Slot Knife & Scissors Sharpener.

Two to three passes is usually enough for blades of average dullness, more if needed. Once again, stopping to gauge your progress is your friend. An added benefit with the Smith’s sharpener is you can sharpen both right- and left-handed scissors depending on which side of the handle slot you use, and it’s conveniently noted on the sides of the unit itself.

Spyderco Golden Stone

Starting at the top, slide the blade’s beveled edge down the length of the Golden Stone, gradually working the edge toward the tip. Once the edge is sharp, give the opposite blade the same treatment.
Starting at the top, slide the blade’s beveled edge down the length of the Golden Stone, gradually working the edge toward the tip. Once the edge is sharp, give the opposite blade the same treatment.

Spyderco Golden Stone Sharpener
Size: 7.2 x 3 inches
Type: Desktop sharpener
Abrasive: Alumina
Handle: None
Carry: Suede leather pouch
Country of origin: USA
MSRP: $210

I have become very familiar with the Spyderco Golden Stone sharpener over the years and have included it in several articles, though not for sharpening scissors. Spyderco knives are well known for their premier out-of-the-box sharpness, and company founder and BLADE Magazine Cutlery Hall-of-Fame® member Sal Glesser is a long-time guru on the topic, including today on YouTube.

The Golden Stone is a Glesser design that enables you to sharpen knives in many ways and at different angles, and even serrated blades. Spyderco uses alumina (aluminum oxide) for the Golden Stone’s material and other of its sharpeners, and claims the resulting models do not require oil or water for surface sharpening. Check out Spyderco’s YouTube sharpening videos for a myriad of ways to sharpen the company’s knives.

Designed by Spyderco founder Sal Glesser, the Spyderco Golden Stone is an odd triangular ceramic sharpener fit for many uses—one of which is sharpening scissors. For sharpening, position the suede pouch that carries the Golden Stone on a flat base to provide a non-slip surface. (Covert image)
Designed by Spyderco founder Sal Glesser, the Spyderco Golden Stone is an odd triangular ceramic sharpener fit for many uses—one of which is sharpening scissors. For sharpening, position the suede pouch that carries the Golden Stone on a flat base to provide a non-slip surface. (Covert image)

To start with the Golden Stone, use the accompanying suede pouch as a non-slip surface on a flat base. Employ the stone’s rough triangular shape with the long side sideways and vertically. Grip the short side of the triangle with the long vertical side to your right, forming the sharpening platform. Now you’re ready to sharpen the first blade bevel.

Open the scissors wide and position the top of the base of the bevel grind over the high point of the sharpener, and slide it toward the low end as you slowly pull toward you.

It’s like sharpening a knife where you start at one end and slowly slide the tip toward the opposite end as you go—you’re just putting an edge on the bevel instead. Spyderco recommends eight to 10 passes but, once again, use your judgment depending on the condition of the scissors. Once you’re pleased with the bevel on the first blade, flip the scissors over and repeat the process on the second blade. When done you can remove any burr on the edges of the two blades by opening and closing the scissors a few times.

Conclusion

Both handheld units did a good job of sharpening the bevels, and though I prefer a ceramic sharpening rod just because you can better “feel” it rubbing against the bevel, there was no noticeable difference in the results. These two sharpeners are capable of putting a very decent edge on your scissors.

Fiskars is one of the few major companies that manufactures scissors specifically for lefthanders, and is known for such radically asymmetrical designs as these two. The red pair is for lefties.
Fiskars is one of the few major companies that manufactures scissors specifically for lefthanders, and is known for such radically asymmetrical designs as these two. The red pair is for lefties.

The end result of my efforts with the Golden Stone paid off with two razor-sharp beveled edges on the scissors blades. Spyderco doesn’t assign numbers to the grits on its sharpening media, but the best I can tell the white alumina like that used on the Golden Stone is in the fine, 2,000-grit range.

Where To Find Your Edge

Is all the cost, time and increased degree of skill required by the Spyderco Golden Stone worth it? That’s up to you and what your expectations of your scissors are. There are folks whose livelihoods depend on scissors, others that just want to get the mail out the door and scads of people in-between. Choose your sharpener!

More Sharpening Articles:

Gloves And Knives: Do They Go Hand In Hand?

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There are times gloves make all the sense in the world to use when using a knife and times they don’t.

The old saying goes that two things might “fit like a glove” or “go hand in glove.” But just maybe another question involves exactly when the “glove fits.”

Since mankind began working with tools, stone, bronze, steel and even in conditions that might be less than ideal, such as clearing trees and brush, dressing an animal, building a structure, or handling heat and cold temperatures, the idea of protection has been second nature. At first glance, the glove has its place and always will. But there are, in fact, other considerations in using hand protection, especially when it involves using a knife.

The time and place for gloved hands is the choice of the user, and thoughts on the topic vary.

“As you might expect, the answer ‘yes or no’ to gloves is ‘it depends,’” declared Craig Powell, general manager of TOPS Knives. “There are a lot of different reasons to wear gloves or not, depending on the use case. In cold weather, the gloves are more to keep your hands warm than they are necessarily for safety or grip. I wear gloves if I have them on me whenever I’m doing heavy-duty cutting like chopping firewood or other tasks that have a lot of impact involved.

Craig Powell said one of the specific reasons for Micarta® or G-10 handles on TOPS knives is to provide a good grip when you need it. “Micarta is one of the best for grip even when wet and whether you have gloves or not,” he observed. The TOPS Trailhead Kukri has black canvas Micarta scales. (TOPS image)
Craig Powell said one of the specific reasons for Micarta® or G-10 handles on TOPS knives is to provide a good grip when you need it. “Micarta is one of the best for grip even when wet and whether you have gloves or not,” he observed. The TOPS Trailhead Kukri has black canvas Micarta scales. (TOPS image)

“I also usually have a few pairs of latex or nitrile gloves handy when hunting just to keep things a little cleaner when gutting or skinning an animal,” Craig added. “If I’m doing tasks that require fine control of cutting, I don’t usually wear gloves. One of the reasons I use Micarta® or G-10 on TOPS knives is specifically to provide a good grip for when you need it. Micarta is one of the best for grip even when wet and whether you have gloves or not.”

Situational awareness, then, drives most decisions to use gloves or go barehanded when using a knife. There are times when working with steel in the shop or making camp in the field that gloves are indispensable, and then there are other tasks that require the most intricate feel and finesse that can only be achieved with the bare hand.

Reuben Bolieu, BLADE® correspondent, outdoor adventurer and designer for ESEE Knives, recognizes when and where the glove provides that necessary advantage.

Reuben Bolieu wears cowhide gloves—nothing fancy—while chopping with his ESEE Gibson Carving Axe. As he noted, “These gloves are excellent general-purpose gloves when handling wood, bamboo, hot cookware and dirty work.” (Bolieu image)
Reuben Bolieu wears cowhide gloves—nothing fancy—while chopping with his ESEE Gibson Carving Axe. As he noted, “These gloves are excellent general-purpose gloves when handling wood, bamboo, hot cookware and dirty work.” (Bolieu image)

“Gloves are the unsung hero of my camping trips,” he remarked. “They provide a momentary boost of superpower when handling hot pots or skillets taken directly from the campfire. Gloves also give you a second chance if you accidentally nick yourself while retrieving a big blade or axe from its sheath.”

Joe Flowers, designer for TOPS Knives and Condor Knife & Tool, answers emphatically regarding whether he uses gloves.

“Most of the time I do not, unless I am doing a highly repetitive motion or am working a particularly scaly or dangerous animal or material. This is general, as I can feel the blade and manipulate the tool more for the tasks at hand. The pro of wearing gloves, especially if you are not used to working tools, is the absence of concentrated friction that can lead to blisters. Even if you work a farm all day, you can get blisters doing a repetitive motion.

Feeling the handle of a knife against bare skin in the user or maker’s hand is considered the acid test for utility. Ed Fowler cradles one of his trademark sheep-horn handle knives at his shop bench.
Feeling the handle of a knife against bare skin in the user or maker’s hand is considered the acid test for utility. Ed Fowler cradles one of his trademark sheep-horn handle knives at his shop bench.

“After hanging out with Anders Haglund, formerly of Helle Knives, I appreciated the idea of a larger handle for mitten manipulation,” Joe added. “The legacy of Sami reindeer herders who use large gloves helped him convince me. I don’t always design large handles, but if it is a design that could work with a Nordic culture I pay attention and put a larger handle on the blade. Sami culture sometimes calls their survival kit ‘a big knife, a small knife, and a reindeer.’ That’s all they need to survive.”

Gloves, Knives And Safety

Safety is always a factor in wearing gloves to use knives. Removing a knife from a sheath or deploying a folder blade always has a bit of hazardous duty involved. The same is true in the shop or the field, though the gloves themselves can sometimes present a hazard.

“Gloves get wet. This is wasteful,” explained longtime BLADE field editor and High Endurance Performance Knife master smith Ed Fowler. “They may be too loose and can get you caught up in machinery. The skin on our hands is very sensitive, and this sensitivity can help improve the quality of our knives, as well as our health. When buffing or grinding a hardened blade, our hand can communicate the temperature, where your heat treat might not remain just as you planned it to be. Friction is the enemy of our heat treats.”

“After hanging out with Anders Haglund, formerly of Helle Knives, I appreciated the idea of a larger handle for mitten manipulation,” Joe Flowers stated. “The legacy of Sami reindeer herders who use large gloves helped him convince me.” The Nordic-style fixed blade is a Marttiini Arctic Carving Knife. (Bolieu image)
“After hanging out with Anders Haglund, formerly of Helle Knives, I appreciated the idea of a larger handle for mitten manipulation,” Joe Flowers stated. “The legacy of Sami reindeer herders who use large gloves helped him convince me.” The Nordic-style fixed blade is a Marttiini Arctic Carving Knife. (Bolieu image)

At the risk of stating something readily apparent, the positive aspects of wearing gloves when using knives include minimizing a cut or slice that could require stitches or worse, managing heat and cold, reducing the build-up of friction that can create painful blisters, and possibly even improving grip and purchase in the hand.

“The obvious pros of gloves are safety from materials and the tools you use,” Bolieu related. “However, gloves are fumbly! This brings us to the cons: clumsy dexterity. Fiddling in the dark or cold is the worst when working with sharp tools or lacking time. Gloves can slow you down big time! Sometimes you need to take a stand and say, ‘The gloves are coming off!’”

When Powell is at work, he takes stock of the task at hand, and gloves may or may not be part of the equation.

“Fiddling in the dark or cold is the worst when working with sharp tools or lacking time. Gloves can slow you down big time,” Reuben Bolieu opined. “Sometimes you need to take a stand and say, ‘The gloves are coming off!’” (Bolieu image)
“Fiddling in the dark or cold is the worst when working with sharp tools or lacking time. Gloves can slow you down big time,” Reuben Bolieu opined. “Sometimes you need to take a stand and say, ‘The gloves are coming off!’” (Bolieu image)

“Gloves can keep your hands from getting torn up when you’re doing a lot of heavy-duty cutting. They can also keep your hands clean when they need to be. Then, of course, there are gloves that will help prevent or at least lessen the cut you might receive if there is an accident. The cons are mainly the loss of dexterity and fine control. Depending on the type of glove, your ‘feel’ of the knife just won’t be as good as with a bare hand.”

Feeling the handle of a knife against bare skin in the user or maker’s hand is considered the acid test for utility. The glove is sometimes a barrier to truly getting the feel of the knife and developing an intuitive awareness of its capabilities.

“A good way to see if a handle is going to be comfortable for you to use is to give it a good, hard squeeze and hold it for a few seconds,” Powell commented. “Once you release it, if you feel some uncomfortable spots on your hand, that is a good sign that it will have some hot spots. Everyone’s hand is different, so while some knives might feel great for some, that same handle might feel terrible to others. A knife that looks great aesthetically doesn’t always do the job when it comes time to start cutting. So, a bare hand on the handle is a must whenever you can.”

Habit And Repetition

For those who wear gloves regularly when using knives, personal preference weighs in. The influence of habit and repetition contributes, too.

“Here’s a good analogy for this,” said Craig. “Most people wear shoes every day to keep their feet from getting cut or injured in some way. People that spend lots of time barefoot, especially outside, tend to have tougher feet. Basically, the same rocks that would cause some people a lot of pain don’t do anything to those who walk barefoot often. The same will be true for gloves. If you wear gloves every time you use knives or other hand tools, your hands don’t build up some of the toughness to be able to handle using knives often. A good handle will absolutely make a difference, but so will using tools often in general.”

As Ed Fowler noted, when buffing or grinding a hardened blade, the hand can communicate the temperature. Chris Amos buffs a blade in Ed’s shop in this file photo. (Fowler image)
As Ed Fowler noted, when buffing or grinding a hardened blade, the hand can communicate the temperature. Chris Amos buffs a blade in Ed’s shop in this file photo. (Fowler image)

Choosing whether to wear gloves or not shouldn’t be a difficult decision. The best advice available involves balancing risk versus return, hazards in relation to control and manageability.

“If gloves are the remedy, crack on!” Reuben offered. “Gear is terrain and weather-specific. I use leather gloves made of cowhide, the type you would see a ranch hand or cowboy use—nothing fancy. These gloves are excellent general-purpose gloves when handling wood, bamboo, hot cookware and dirty work.

“In winter, I add a thin fleece glove under them,” he noted. “This adds warmth but makes things extra fumbly. If I need more dexterity for making feather sticks or carving, I remove the leather glove and work the best I can with the fleece glove. It’s always a tradeoff. Safety first! More than anything, try with and without, see what works for you and have a blast!”

Flowers is strong in his opinion on the gloves themselves, but acknowledges there is a time and place for them when working with knives.

Pulling a knife from a sheath or deploying a folder blade always has a bit of hazardous duty involved. (TOPS image)
Pulling a knife from a sheath or deploying a folder blade always has a bit of hazardous duty involved. (TOPS image)

“Gloves do not determine how hardcore you are,” he advised. “I hate gloves but I wear them sometimes when the environment dictates it. I like to work beehives without gloves and I applaud anyone who does. Dexterity is very important when you manipulate and use a tool with a fine edge. Find gloves that you can move in … Gloves can help, but ultimately it is your time with a knife that is important, and, honestly, part of our human story.”

Experience is a great teacher, and familiarity with knives, their utility and hazards should drive the decision whether to use gloves.

“To each his own,” Powell concluded. “If you prefer to wear gloves when using knives, do it. If you don’t like wearing gloves don’t unless you’re doing something where there is a really good reason to have gloves on. For just regular daily use, I feel gloves are totally unnecessary, but I’ve also been in the knife world for over 25 years now.”

The use of gloves while working with knives does, then, involve the nature of the task, its brawn and repetition versus its intricacy and detail, control versus power. Having a pair of gloves handy is probably a best practice. Using them when and where appropriate enhances the knife experience.

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Penny For A Knife: Unraveling The History Of This Tradition

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The fascinating origins of the “penny for a knife” custom, from ancient Rome to Sheffield. Learn why a coin was exchanged saved friendships.

Not all that long ago, the tradition of a penny for a knife was a common practice. Today the custom appears to be barely clinging to relevance, though as traditions go there is the possibility that it may linger and even gain new traction. That, however, remains to be seen.

The old story goes that when someone gives a knife to someone else, the recipient is obliged to present the giver with a penny as a token of appreciation or even as an insurance policy. The origins of the old custom are shrouded in mystery and have become more obscure with the passage of time. Nonetheless, there is a larger aspect to the tradition, and that is its questionable staying power in the modern milieu that is the world of knives.

Is the old practice virtually clinging to life? Apparently so. A few folks contacted for the story were frank in their assessment. Phil Gibbs of A.G. Russell Knives in Rogers, Arkansas, went to the buying public and then conferred with his boss, BLADE Magazine Cutlery Hall-of-Fame® member Goldie Russell, both longtime participants in all things knife.

If somebody gave you a knife and you didn’t give him a penny in return, Cutlery Hall-of-Famer Dan Dennehy noted, “it would cut your friendship.” Dan is also a member of the International Knife Throwers Hall of Fame.If somebody gave you a knife and you didn’t give him a penny in return, Cutlery Hall-of-Famer Dan Dennehy noted, “it would cut your friendship.” Dan is also a member of the International Knife Throwers Hall of Fame.
If somebody gave you a knife and you didn’t give him a penny in return, Cutlery Hall-of-Famer Dan Dennehy noted, “it would cut your friendship.” Dan is also a member of the International Knife Throwers Hall of Fame.

“I’ve polled customers in our store since we first discussed this, and zero people were aware of the old custom,” Phil remarked. “Goldie and I agree that it was once quite prevalent but now is long gone and forgotten.”

The late Cutlery Hall-of-Famer A.G. Russell knew the custom well but sometimes found himself having to explain it a bit.

“Sometimes people look at me funny,” he said years ago of the times he gave a knife to someone and asked for a penny in return, “especially when they are younger. The younger they are, the funnier they look at me. I just think it’s a matter of their not knowing about it.

“As I was growing up, I saw it being done, not just once but many times. I still do it myself. I insist on compensation. It may end up being a quarter if they don’t have a penny, nickel or dime. I knew a man years ago who liked to give knives away, and he would give the knife away with a penny and then make you give the penny back.”

Veteran knife dealer Bill Claussen of Northwest Knives in Salem, Oregon, is another source who definitely would be in the know regarding the tradition, and his assessment was a straight-up, “I really don’t have anything to offer on this one. This is really not ‘old knife’ country out here, and I never even heard of this until a few years ago,” he noted, “and then I never heard it discussed.”

Cutlery Hall-of-Famer A.G. Russell (at far left) waits on a customer in the retail knife store inside A.G. Russell Knives.
Cutlery Hall-of-Famer A.G. Russell waits on a customer in the retail knife store inside A.G. Russell Knives.

The tradition may well be on life support. While it is likely fading or the sun has quite possibly set on it altogether, there are related memories. Matter of fact, this writer put together a BLADE® story on the topic some 26 years ago. Coincidentally, I had just experienced the tradition in action. When I handed a nice folder to a close friend, his wife piped up, “Now you have to give Mike a penny. My mother and father never gave one another anything with an edge without receiving a penny in return.” Even then, my friend’s wife had no idea where the practice had originated.

Penny For A Knife Origins

In that BLADE story 26 years ago, Cutlery Hall-of-Famer Bruce Voyles related that he believed the custom originated in ancient Rome.

“The general theory was that you would ask for the lowest coin of the realm when you were given a knife,” he said. “Back then, when you were dealing with an absolute monarch and the king or queen handed you a knife of their own, you were expected to kill yourself with it. But, if the king demanded a coin from you, then he was giving you the knife.”

Well-known knife dealer Jim Taylor, who grew up in Sheffield, England, remembered the penny for a knife custom as it was practiced in his family. “When I was a little boy,” he recalled years ago, “I had to give my mom a penny before she would give me a pocketknife she had bought for me. It might have been a particular Sheffield custom that became popular.

“I’ve always expected to be given a coin, whatever it might be, any coin at all. In England you don’t have to explain it, but in the United States sometimes the custom is not held so tightly. If I were to take someone a gift of a pocketknife in England, they would without question give me a coin. They think, ‘You must buy this because otherwise it might cut our friendship.’ I’ve seen knives from time to time with an old English farthing or half penny built into them.”

That was then.

Bill Claussen with Sheffield Exhibition Knives, the book he authored in 1999 along with Brad Watts and Pete McMickle.
Bill Claussen with Sheffield Exhibition Knives, the book he authored in 1999 along with Brad Watts and Pete McMickle.

Even Queen Elizabeth II participated in the tradition. The Sheffield Star newspaper dutifully reported in its Dec. 12, 1986, edition that the Queen visited the city and was presented with a platinum penknife and responded by handing the presenter a six-pence coin in a case. Thirty-five years earlier, the monarch had visited Sheffield and handed a cased half penny to the giver in exchange for a gold penknife.

In fact, the practice was so widespread at one time that according to Cutlery Hall-of-Famer Bernard Levine, one of the foremost knife writers and folklorists, Gerber knives were often sold in the 1940s with an accompanying card that explained the penny for a knife tradition. The card even had a penny glued to the top along with the declaration of “invoice” and then space for a name along with the instruction, “debtor to” and then “1 box of Gerber Blades … 1 cent.”

Levine said the Gerber card explained the legend a bit further. “There is a superstition, or something, about giving away cutlery … etc., so I trust you will honor this bill,” the card stated. “Besides, I need the money.”

FRIENDSHIP CUTTER
Years ago, Cutlery Hall-of-Famer Dan Dennehy indicated that he had grown up with the tradition.

“If someone in our family gave you a pocketknife, they got a coin,” he recalled. “The value didn’t matter just as long as it was legal tender. If somebody gave you a knife, a letter opener, anything with a sharp edge, or even a butter knife, you always gave a coin in return because if you didn’t collect a payment it would cut your friendship.”

Cutlery Hall-of-Famer Bruce Voyles hammers hot steel during a basic bladesmithing course in 1994 at the Bill Moran School of Bladesmithing. (B. R. Hughes image)
Cutlery Hall-of-Famer Bruce Voyles hammers hot steel during a basic bladesmithing course in 1994 at the Bill Moran School of Bladesmithing. (B. R. Hughes image)

Those who remembered the old practice seemed convinced a quarter century ago that fear of “cutting the friendship” was their prime motivation. Knifemaker John Dennehy, Dan’s son, remembers his close association with it.

“I’ve thought about this and don’t have any firm history about it,” John reflected. “I do remember my dad spoke about it a lot. Giving a knife as a gift can sever the friendship, so he always asked me for a quarter or something when I was a kid and a dollar as an adult. He often told the story about being on the radio with G. Gordon Liddy [talk show host, attorney and FBI agent involved in the Watergate scandal of the 1970s] and presenting him a knife. Gordon was prepared and had a silver dollar ready to give Dan. Being first-generation Irish in the U.S., he claimed it was an old Irish tradition. In the books and TV show Outlander, Jamie Fraser, the Scottish highlander, gifts his wife a custom knife. He asks her for a little something in return—says it’s an old Scottish tradition. That’s not much, but I did grow up with the tradition and carried it forward.”

In doing some research sometime back, it became apparent that the tradition has been a cross-cultural phenomenon. In Scandinavia, for example, it’s seriously bad luck to outright give someone a knife. A knife that was gifted but not meant to be a “killing knife” had a coin accompanying it with the initials of the maker. That would ensure the knife’s good use. Along with the knife an old saying, “A man without a knife is a man without a life,” added to the Scandinavian sincerity of the event.

Despite the fact that the tradition may be fading or has already slipped into history, some way or somehow it may experience a revival. Levine and many others seemed to love it. Some still do. After all, it adds to the quaintness and charm that surrounds the exchange of a knife with a friend or family member.

Tradition is a common thread that just makes the giving more memorable and enriches the experience for everyone. In these days of inflation, it’s cheap, too. It only costs a penny.

Pocketknife Info:

2025 Cutlery Hall Of Fame Welcomes Eight Inductees

Largest class as HOF honors living and deceased legends.

The BLADE Magazine Cutlery Hall of Fame® is proud to announce its new inductees for 2025: Harvey Dean, Stanley Fujisaka, Rick Dunkerley, Dr. James Lucie, Alfred Pendray, James Schmidt, and Daniel Winkler and Karen Shook.

In a procedural change new for this year, the Hall of Fame has expanded the number of annual inductees from three to seven, the latter including four living and four deceased individuals. (The team of Winkler and Shook is count as one inductee.) They, along with Dean and Dunkerley, are this year’s living inductees, with the balance being the deceased ones.

The new Hall of Famers will be formally inducted, including the posthumous inductions of the deceased members, during BLADE Show 2025 June 6-8 at the Cobb Galleria Centre in Atlanta. The induction ceremony will commence the Saturday morning of the show, June 7, at 8 a.m., and will include a breakfast in the Kennesaw Room of the show’s host hotel, the Renaissance Atlanta Waverly. Tickets are required in advance and are limited. For ticket information email [email protected].

Harvey Dean

Harvey Dean
Harvey Dean

According to a nominator, “Harvey Dean earned his American Bladesmith Society master smith rating in 1992 and since then has taught an impressive number of students the art of bladesmithing. He became a member of the ABS Board of Directors in 2004 and served four years with distinction as ABS president from 2015-19. He continues to serve on the ABS board today. He was inducted into the ABS Hall of Fame in 2016. He has won an impressive number of judging awards for his knives, including at BLADE Show Texas, multiple times at the BLADE Show, from the Antique Bowie Knife Association and others. His knives have earned him membership in the prestigious Art Knife Invitational, limited to 25 of the world’s top knifemakers by a vote of the member makers.

He is a marvelous bladesmithing teacher, a master leader, a master administrator, and a master ambassador for the forged blade.” Along with award-winning knifemaker Johnny Stout, Harvey coordinated two annual knifemaking seminars in New Braunfels, Texas, for a number of years. He has also passed the knifemaking torch to his son Dillon, who creates utility fixed blades of his own. Concluded the nominator, “Harvey is among those named in the book Greatest Living Knifemakers written by Cutlery Hall-Of-Famer Steve Shackleford. I know of no one man deserving of being named to the Cutlery Hall Of Fame more than Harvey.”

Rick Dunkerley

Rick Dunkerley
Rick Dunkerley

Rick Dunkerley began making knives in 1983 and started forging them in 1992. He specializes in mosaic damascus folders, winning judging awards for a number of them, as well as an occasional fixed blade. Among others, he’s won judging awards for his knives at the Oregon Knife Collectors Association Show, Montana Knifemakers Association Show, BLADE Show and BLADE Show Texas. His knives have earned him membership in the prestigious Art Knife Invitational, limited to 25 of the world’s top knifemakers by a vote of the member makers. He held many hammer-ins during the ’90s and brought in the best instructors of the time.

Rick has always been generous with information and is an excellent teacher. He’s taught at such venues as the Texarkana College/Bill Moran School of Bladesmithing, the Batson Bladesmithing Symposium, the Massachusetts College of Art, Saskatchewan Western Development Museum, Northern Minnesota Blacksmith’s Association, Northern Rockies Blacksmith’s Association and Western Canada Knifemakers’ Symposium. One of his students, Josh Smith, was the youngest ever to achieve both ABS journeyman and master smith status, and today runs the Montana Knife Co., a factory knife production operation with 80 employees. According to a nominator, “Rick has been on the board of the ABS and does the top shows worldwide. He has paid his dues, is a hell of a guy, always willing to share his knowledge, and makes world-class knives.”

Stanley Fujisaka

Stanley Fujisaka
Stanley Fujisaka

Stanley “Stan” Fujisaka went full-time making knives in 1984 and was a prolific builder of award-winning folders and fixed blades. He was a beloved mentor in his Kaneohe, Hawaii, knife shop to a number of Hawaiian and other makers, including Scott Matsuoka, Les George, Cutlery Hall-Of-Famer Ken Onion and many more. Stan played a key role in encouraging Onion to patent his famous SpeedSafe assisted-opening mechanism. As a result and as Cutlery Hall-Of-Famer Dan Delavan wrote, “Ken went on to become the savior of Kershaw Knives.”

Stan also generously assisted knifemakers who fell victim to floods, shop fires, medical issues and more. He was a regular exhibitor at knife shows, donating many knives for door prizes. He collected custom knives and promoted them and the custom industry in general by supporting the Bay Area Knife Collectors Association Show, The Knifemakers’ Guild Show and other knife events. Together with his good friend, Cutlery Hall-Of-Famer Jim Sornberger, Stan co-hosted dinners for knife collectors, area celebrities and others, all of which helped promote custom knives. Finally, when it came to being a goodwill ambassador to the custom knife industry, few if any could rival Stan for his many gifts—including flowers, Hawaiian coffee and boxes of chocolate-macadamia nuts—that he doled out to friends, customers and other patrons at the shows where he exhibited.

Dr. James R. Lucie

Dr. James R. Lucie
Dr. James R. Lucie

According to a nominator, “Dr. James R. ‘Jim’ Lucie was Cutlery Hall-Of-Famer William Scagel’s physician and signed Scagel’s death certificate in 1963. This was the beginning of Dr. Lucie’s Scagel knife-collecting avocation. Scagel is considered by many the father of the modern custom knife. Dr. Lucie discovered his passion for knifemaking in 1990 when he took a class on bladesmithing from Cutlery Hall-of-Famer Bill Moran. Jim was a very talented maker and received several awards for his contributions to the knifemaking community. He assisted other makers often. In 2001, the ABS created the Dr. Jim Lucie Award, which it bestowed on Jim as its inaugural recipient. The award was ‘presented for the unselfish contribution to the preservation of the forged blade. The person receiving this award has gone far beyond the call … and exemplifies the type of person needed to keep … bladesmithing alive.’

Jim also received an ABS Special Service Award in 2002 ‘in recognition of his meritorious and unselfish services on behalf of … the forged blade.’ He also received the ABS Chairman’s Award for Outstanding Service more than once. He was a talented bladesmith, hand-forging mostly Scagel recreations of the highest quality. He improved on Scagel’s designs when it would enhance the knife. Jim dedicated three decades to researching Scagel’s life and collecting his works. Jim’s efforts culminated in Scagel Handmade, a massive hardbound book detailing Scagel’s life, with photos of over 200 knives and other Scagel items. Dr. Lucie hosted a hammer-in in 2001, with over 500 people in attendance. He shared his knowledge of Scagel’s techniques by giving speeches at many bladesmithing events. Late in life, Jim donated his blacksmithing, grinding and finishing equipment valued at $62,700 to the ABS. His actions consistently exhibited honesty, compassion for others and a dedication to the bladesmithing community.”

Alfred Pendray

Alfred Pendray
Alfred Pendray

Alfred “Al” Pendray was a rock to the many bladesmiths he taught and influenced over the decades. “I learned so much from him,” noted ABS master smith Charley Ochs, “not only about knives and metallurgy but also about life and social interaction as a person.” Softspoken but never at a loss for words on the subjects that mattered to him, Alfred possessed an intricate knowledge of many things, including wootz steel, bladesmithing/knifemaking and knife history in general. He had a solid work ethic and led as much or more by example than the spoken word. He knew when to express his views and when not to, a trait sadly lacking in much of today’s discourse. Alfred is co-author—along with Dr. John Verhoeven, a former metallurgical engineering professor at Iowa State University—of articles appearing in eight scientific journals, four bladesmith publications and BLADE on the nature of “genuine damascus,” or wootz steel.

Pendray was granted patent number 5,185,044 on a “method of making damascus blades.” He was a speaker at the Symposium on Damascus Steel at New York University in 1984. He also spoke at the International Conference on Damascus Steel in Germany in 1985 and the same conference in 1992. He lectured at the Imperial College in London, England, in 1992. He joined The Knifemakers’ Guild in 1982 and was awarded his master smith rating by the ABS in 1983. He received the ABS award for the Bill Moran Knife of The Year in 1991 and was elected to the Guild board of directors in 1992. He received the ABS W.W. Scagel Award in 1998 and is a past recipient of the Guild’s Red Watson Award. He served as Guild president from 1998-2004. In September 2001, he was featured on the nationally syndicated Paul Harvey radio show. In 2003, he was inducted into the ABS Hall of Fame.

James Schmidt

James Schmidt
James Schmidt

According to a nominator, James “Jim” Schmidt was instrumental in raising the level of knifemaking to compete with the finest crafts ever made. Most importantly, he elevated the pursuit to an art but never forgot the meticulous details of the craft. His knives are immediately recognizable and he influenced so many who came after him in meaningful ways. A spectacular book by BLADE® field editor Mike Haskew memorialized the man and his knives: JAMES A. SCHMIDT, The Great Master. A few passages from the book: “As a custom knifemaker he knew few peers. As a mentor and teacher, he was without equal”; “A man of few words, he allowed the results of his skill, precision, and limitless creativity to speak for him. In silent, stunning beauty, they thundered”; and “He welcomed those who were earnestly interested in improving their bladesmithing and knifemaking skills into his shop … and shared with them the light of precious knowledge that he realized should be readily and freely given rather than hidden.”

In the 1970s, along with Jimmy Fikes and Don Fogg, Jim formed the New England Bladesmith Society to promulgate the skills and techniques of knifemaking.  Before long the groundbreaking Ashokan Bladesmithing Seminar was born. Jim was a principal organizer, lecturer and demonstrator. He was one of the earliest members of the ABS and one of the earliest ABS master smiths, and a member of the ABS Hall of Fame. He was a constant member of the Art Knife Invitational, a winner of the Red Watson Award from the Knifemakers’ Guild, the Beretta Award for Outstanding Achievement, and many other honors from a number of custom knife shows. In time Jim decided to let someone else win an occasional award and became a judge at many shows. His approach was to be meticulously but fairly critical and always encouraging. He was indeed the ultimate teacher, his profession for most of his life.

Daniel Winkler And Karen Shook

Daniel Winkler And Karen Shook
Daniel Winkler And Karen Shook

ABS master smith Daniel Winkler and Karen Shook first made their mark in the world of knives with custom reproductions of historical knives and tomahawks. Daniel made the knives and hawks and Karen made the accompanying authentic period sheaths, and the two became internationally known for their work. Daniel and Karen taught for the ABS for many years and Daniel was in the vanguard of the Society’s early cutting competitions. The two were at the forefront of early American historical arms and their period pieces were among those featured in the 1992 feature film, Last of the Mohicans. In 1994 a Navy SEAL Special Warfare operator asked Daniel to make a tomahawk because there was nothing on the market that worked for the SEALs at the time. According to a nominator, “Karen designed a sheath the SEALs liked and over the years she and Daniel did more special projects for the SEALs, ultimately inspiring the two to form Winkler Knives II.” Added another nominator, Daniel and Karen’s operation “soon became the cutlery armorer of many top Special Ops teams, from the SEALs to Delta Force, and to those of other nations as well.

For many years Daniel and Karen quietly made the knives, axes and sheaths without seeking glory or publicity for their work. In fact, they insisted that their generosity and unselfishness remain a secret among those who discovered it. It was only upon mention of their work in the book No Easy Day, in which the SEAL Team member on the Bin Laden take-down mentioned he was carrying a Winkler knife, that Daniel and Karen’s work became known to the general public. With such demand, they have expanded into a mid-tech operation and from there into that of a cutlery producer.” Today, Winkler Knives has a 35,000-square-foot facility employing one part-time and 28 full-time workers. “Few have transitioned into the changing markets as well as Daniel and Karen,” the nominator noted, “and none have done so with such humility and class.”

See Other Hall Of Fame Members:

Collaboration Knives: How Do They Come Together?

Top makers explain how they collaborate with knife companies.

The old cliché of the win-win holds a real grain of truth. Any successful partnership must be mutually beneficial, and in the knife industry the phenomenon of the collaboration has come to exemplify the upside of working together.

Years ago, a veteran custom knifemaker described his relationship with a major manufacturer as serving as the company’s research and development department. Such a description is accurate in that the manufacturer often relies on the custom maker for new design inspiration, from good looks to materials and mechanics. The collaboration has emerged in the last 35 years or so as an outstanding means of bringing innovation to the public and putting first-rate knives in the hands of the mass market.

The ins and outs, nuts and bolts, and give and take of the collaboration process raise questions for makers interested in striking deals of their own. A few comments from makers who have achieved great success on the collaboration frontier offer helpful insights.

“It goes both ways,” observed BLADE Magazine Cutlery Hall-of-Fame® member Bob Terzuola, who indicated he completed his firstfactory collaboration with fellow Cutlery Hall-of-Famer Sal Glesser and the design team at Spyderco in 1989. “You can go to the company or the company can come to you depending on your notoriety. If you are just starting out, you probably have to go to the company.”

On the business side of the ledger, Suzi Terzuola takes the lead and has demonstrated proficiency in making the deal work for everyone involved. Her flair for negotiation and finding the right blend of maker-manufacturer cooperation has been demonstrated through the years as Bob has worked not only with Spyderco but also the old Camillus, Boker, Fox, Pro-Tech, Tactile Knife Co. and others.

BLADE Magazine Cutlery Hall-of-Fame® member Bob Terzuola has done collaborations with many companies, including the Bob Terzuola ATCF Auto Ultimate from Pro-Tech, the BLADE Magazine 2022 Investor/Collector Knife Of The Year®. (Eric Eggly/PointSeven knife image)
BLADE Magazine Cutlery Hall-of-Fame® member Bob Terzuola has done collaborations with many companies, including the Bob Terzuola ATCF Auto Ultimate from Pro-Tech, the BLADE Magazine 2022 Investor/Collector Knife Of The Year®. (Eric Eggly/PointSeven knife image)

“I was raised by parents with their own successful businesses,” Suzi observed, “and I saw Bob receiving passive income from Spyderco and Camillus, and of course passive income is how you survive after having only so many years to make knives. I began looking at the knife designs Bob had and tried to match the design to the company. Bob has patents lining the walls, and when he lends his name to a knife he should receive a signing bonus and a bonus against the royalties.”

In return for his design skill and the use of his name in promotions, Bob has certainly established himself as a leader among successful custom collaborators. His contribution to a company’s success has enhanced his reputation of excellence across the industry, while Suzi has forged a business posture that results in security for the future.

Knife Collaboration Contracts

The contract is the key component of a collaborative deal, and depending on the circumstances everything is negotiable. Although early agreements made among friends were sometimes done on a handshake, it has become a “best practice” to hammer out the terms of the collaboration on paper, invest in an attorney’s review, and formally memorialize the discussions. Standard royalties run roughly 5 percent of the price at which the company sells the knife.

The Terzuolas include a period of time in which the company is allowed to produce the knife; the period may be extended at maturity with the agreement of both parties. Further, there may be a requirement that the company produces a certain number of knives in a given time period, also renewable. Restrictions on wholesale pricing or discounts that affect royalties may also be negotiated.

For those considering a foray into collaborations, Bob and Suzi offer some advice: “If you’re a new maker, you shouldn’t just walk up to [the company’s] booth at a show. Make an appointment to see them because they are at the show to deal with customers. Approach a company with one or more finished designs. They want a package presented to them, a prototype or existing model, something they can hold in their hands, and in the case of a prototype it’s good to have as many innovations and design creations as you can—anything that will set the knife apart from other potential deals out there.”

Lucas Burnley has designed several iterations of his Kwaiken for Boker, including the Kwaiken Auto Frazetta.
Lucas Burnley has designed several iterations of his Kwaiken for Boker, including the Kwaiken Auto Frazetta.

Suzi added that a higher profile in the industry can drive success.

“We are the R&D for a knife company,” she noted, “and when you approach them for a collaboration your social media resumé is very important.”

Making custom knives since 1994, Darriel Caston has concluded collaborations with numerous companies, including CRKT, Spyderco, Boker, V Nives, Kansept Knives and more.

“I’m prolific when it comes to designs,” he affirmed. “There are probably about 300 that I will never get to making. I’m an engineer by trade and my 3D drawings are almost ready for production, and that helps with the deals. They ask for STEP files [standardized 3D model data files for CAD and 3D printing] that can go right into machining. Sometimes we work with a prototype, and sometimes we work with a knife that I have been doing for quite a while.”

According to Darriel, one significant element of the collaboration is the retention of the rights to the design.

“Anybody who wants to do a collaboration must put footprints in the sand, get their work out there and show a story,” custom knifemaker Darriel Caston observed. One of his latest designs for CRKT is the blacked-out MinimalX framelock folder, an evolution of a knife originally made for SpaceX to commemorate a rocket launch.
“Anybody who wants to do a collaboration must put footprints in the sand, get their work out there and show a story,” custom knifemaker Darriel Caston observed. One of his latest designs for CRKT is the blacked-out MinimalX framelock folder, an evolution of a knife originally made for SpaceX to commemorate a rocket launch.

“You never want to give up your design,” he warned. “I would license the design to the company usually up to four or five years, and the average is three years. After that, you can discuss if you want to continue if the relationship has been good for both parties. License the design and never sell it. If a company buys the design, then they own it forever. If it became their best seller, I could never make the knife again, and I would have to stay away from anything that looks like it.”

For Caston, every deal starts with a friendly conversation. As progress is made, attorneys draw up the contract. He sees the process as straightforward, whether dealing with an American manufacturer or a company headquartered in a foreign country.

“I find the knife community for the most part to be very honorable,” he commented. “I haven’t run into any bad juju. When you want to do a collaboration, I tell people they need to have a name and a track record of good designs with people following them on social media and stuff.”

Since his first collaboration—with Spyderco in 2015—Darriel can speak with confidence regarding the potential for success.

“It would be rare for someone to take a design to a company without a history or a footprint there. They look for your story,” he noted. “Anybody who wants to do a collaboration must put footprints in the sand, get their work out there and show a story. Then it becomes easier.”

Getting A Collab Off The Ground

Darriel Caston has concluded collaborations with several companies. “I’m prolific when it comes to designs,” he affirmed. “There are probably about 300 that I will never get to making.” Now discontinued, the Squarehead was one of his early collaborations with Spyderco.
Darriel Caston has concluded collaborations with several companies. “I’m prolific when it comes to designs,” he affirmed. “There are probably about 300 that I will never get to making.” Now discontinued, the Squarehead was one of his early collaborations with Spyderco.

Custom maker/U.S. Marine Corps veteran Les George found early collaboration success at the SHOT Show some years back. He approached Pro-Tech a decade ago, and the association has continued since then.

“I had just finished my first batch of VECP [Value Engineering Change Proposal] mid-tech knives,” he remembered, “and I thought it would be cool to see Pro-Tech make the knife in an automatic. So, I did the CAD work to change the knife to an automatic and walked up to their booth at the SHOT Show. I asked to speak to the owner, and Dave Wattenberg came over and shook my hand. I drew a big breath and told him, ‘My name is Les George and I am a knifemaker and I have a design I think would be a great knife for you to make as an auto and I already have the CAD done would you like to see it?’ I said that all as one sentence in one breath!”

Still, a pragmatic view of the collaboration landscape demands preparation and planning. A so-called “cold call” may not meet with success.

“It depends on the company whether a direct approach will work or not,” George conceded. “Don’t walk up to a company at the BLADE Show and tell them you’re a hot maker and they should pay you to make one of your designs. Instead, walk up, introduce yourself, and show them with CAD pictures, a 3D printed model, or a real knife, and tell them why you think it would be awesome to work with them on a production project.”

When it comes to her husband Bob’s collaborations, Suzi Terzuola takes the lead and has demonstrated proficiency in making the deal work for everyone involved. An example of several overseas Terzuola collaborations is the Clap from Italy’s Maniago Knife Makers.
When it comes to her husband Bob’s collaborations, Suzi Terzuola takes the lead and has demonstrated proficiency in making the deal work for everyone involved. An example of several overseas Terzuola collaborations is the Clap from Italy’s Maniago Knife Makers.

Les sees the components of a particular collaboration deal varying. Of course, some of the structure depends on the negotiating skills of the parties. Commonly, the compensation may revolve around a percentage of dealer or distributor pricing on each unit, and particular deals may extend as long as each party is pleased with the progress.

“Collaborations should run as long as they are profitable,” Les remarked. “Companies don’t generally kill a successful project unless there is a capacity constraint issue or something else outside hindering it. Both parties can end the deal at any time with some allowances for production to finish with the things they have in progress already. Every contract I have ever seen gives one company the rights to exclusively make a particular model. My contracts have a provision that I can make as many customs of my models as I want. In the end, it would be counterproductive to license the same model to multiple companies. The maker would be competing with himself at that point, and it’s not helping the companies.”

Priming The Pump

Award-winning maker Lucas Burnley appreciates the help of friends in establishing a firm footing for collaboration.

“In general, I’m a big fan of pulling on my network,” he said. “If you have someone you can reach out to for an introduction, that’s always a strong move. If you don’t have someone to make an introduction, you might be able to ask around and at least figure out who you need to talk to. Regardless of how you get your foot in the door, I highly recommend going to a knife show and trying to set up a meeting in person.

“A design is only one part of a collaboration,” he continued, “so bring your ‘A’ game and think about what other value you can provide for the company. I was introduced to Boker by Jens Anso and Jesper Voxnaes, and Ken Onion put in a good word for me with Columbia River Knife & Tool. I’ll be forever grateful for those introductions and the relationships behind them. I’ve been able to pay it forward a few times, and hopefully I’ll be able to do it many more times in the years to come.”

Les George’s V14 dagger design for Spartan Blades was the BLADE Magazine 2014 Investor/Collector Knife Of The Year®.
Les George’s V14 dagger design for Spartan Blades was the BLADE Magazine 2014 Investor/Collector Knife Of The Year®.

In Burnley’s experience, contracts provide compensation most often in the form of monthly or quarterly royalties based on a percentage of sales. One-time lump sum payments are also seen; however, the income generated depends on the goals of the two parties involved.

“I want my designs to run until my grandkids are old enough to thank me for my good decisions,” he laughed. “If a model is selling, I want it to keep selling. On the flip side, I will routinely ask what models we can kill if they aren’t pulling their weight.

“One caveat here is that if a design is still in production, I want to get paid for it,” he concluded. “Some companies will offer a contract for a set period of time but have the option of continuing to produce the model. I view this as somewhat akin to a one-time payout. If it works for you great; just make sure you are paying attention.”

George specifically limits the number of companies he works with in order to give the relationships the priority he believes they deserve. Consistency, he says, is huge. Real, solid collaborations are not “get-rich-quick schemes.” He remembers getting his first collaboration check in 2014 totaling a whopping $6.

 “A design is only one part of a collaboration,” Lucas Burnley observed, “so bring your ‘A’ game and think about what other value you can provide for the company.” His Tuna Compact framelock design for CRKT is one of his latest collaborations.
“A design is only one part of a collaboration,” Lucas Burnley observed, “so bring your ‘A’ game and think about what other value you can provide for the company.” His Tuna Compact framelock design for CRKT is one of his latest collaborations. “A design is only one part of a collaboration,” Lucas Burnley observed, “so bring your ‘A’ game and think about what other value you can provide for the company.” His Tuna Compact framelock design for CRKT is one of his latest collaborations.

Times change—and checks change with good business practices, commitment, follow through, and most of all a process from contract to design and product that proves profitable for everyone.

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