Msg. Kim Breed (retired), a long-time field editor for BLADE best known for his knife reviews, will partner with DoubleStar Corp. to produce knives for that company’s Edged Weapon line.
There’s no doubt that Breed’s 18 years of experience in the United States 5th Special Forces Group will inform the designs that come out of the collaboration, as well as his time as the owner of Breed Custom Knives. Although DoubleStar has not announced specific models, a release from the company suggests that Breed’s custom work will be adapted for affordable price points.
“Kim is a legend within the custom knife community and we are very excited to have the opportunity to collaborate with him, turning his custom design into something that is accessible to a wider audience. Adding Kim to our already impressive roster of collaborators only strengthens our commitment to the edged weapon market, and we look forward to unveiling his designs soon,” stated Rob Cabrera, director of Edged Weapon, in a DoubleStar release.
The following are examples of Breed’s custom knives:
It’s easy to use steel type as shorthand for quality, but that’s only one factor when it comes to the performance of a knife. Heat treating, Rockwell hardness and geometry also matter.
Sure, it’s all about the steel. Blade steel makes the knife world go ’round, right? Well, further analysis just might reveal a few additional elements that weigh in on the sharpness of a knife blade, and custom knifemakers already account for these factors when they complete their stock in trade.
In Search of “True Sharpness”
Considering heat treat, edge geometry, handle ergonomics, Rockwell hardness and other contributors, the comprehensive analysis of “true sharpness” is an eye-opening experience.
“Assume that all knives are sharp when you get them,” said maker Jerry Hossom. “The question is more about what you want to cut, and is the edge geometry and finish one that will do the work you want done. For example, a sharp but coarse edge will not hold up well with hard blade materials.”
Frankly, the ingredients are intertwined, and the path to true sharpness makes frequent stops along the way.
Experience in making and cutting with various materials and knife designs brings knowledge of the process and the expected results.
Physical Features
ABS master smith Jim Crowell has won a number of cutting competitions through the years, including the first ABS/BLADE Show World Championship Cutting Competition in 2003. Here is the knife he used and his championship belt buckle. (Jim Crowell images)
“I can and will only speak from personal experience,” commented ABS master smith Jim Crowell, winner of numerous cutting competitions through the years, including the first ABS/BLADE Show World Championship Cutting Competition in 2003. “Since it would be difficult if not impossible to tell by looking, I would consider the reputation of the maker and his or her history.
“Not knowing who made the knife, I would consider the following: Visualize the geometry and edge treatment. The intangible here is the heat treat. If I’m looking at a knife I know nothing about, the physical features that herald sharpness and performance are blade grind/geometry and the edge. If the blade is ground from the spine to the cutting edge, it achieves the smoothest transition from ‘zero’ at the cutting edge to the full thickness of the spine.
“In my opinion, a flat-ground blade with a convex edge is the best geometry. This is the smoothest transition from cutting edge to spine irrespective of spine thickness or width.”
Steel Type & Blade Performance
“Buying a knife from a reputable maker should be simple,” Tim Britton noted. “My questions would be steel type, Rockwell hardness, and what kinds of tools the maker has in their shop.” Tim’s gentleman’s slippy boasts a 2.5-inch blade of BG-42 stainless steel. Closed length: 3.25 inches. (Eric Eggly/PointSeven image)
Of course, a quick nod to the steel has to figure in. Without the steel itself, nothing else matters.
“How often have I heard that a knife holds an edge very well but is too difficult to sharpen?” Hossom offered. “They are opposite sides of the same coin. Wear resistance in cutting is the same attribute as wear resistance in sharpening, and again, it depends on the intended use.”
Discussion also surrounds standard versus premium steels, given that either is properly prepared.
“So-called standard steels have their place, but I’m not sure where,” explained maker Tim Britton. “I started with O1 in 1972 and Blackie Collins talked me into using 440C. Peer pressure… Ted Dowell, Frank Centofante, Jimmy Lile and Bob Dozier had settled on D2. New stuff like S35VN leaves them all in the dust. It takes twice as many belts to grind the blade and is max stain resistant. I’ve had great field reports from guides who dress a lot of deer, and one who is a pest control hunter and kills a lot of hogs and nutria.”
According to Crowell, everyone probably agrees that quality steel is a must.
“Some steels lend themselves to cutlery more so than others,” he reasoned. “There are some ‘exotic’ steels that truly outperform, but they are usually more expensive and harder to work with. Then, there are inexpensive steels used in cheap manufactured knives sold in bargain stores.”
Crowell looks at the long-time rub between carbon and stainless steels and likes the “10” series spring steels, 5160, O1, W2 and L6, among others. He prefers steels with 75 percentage points of carbon or more, though 5160 with 60 points of carbon is workable as well.
Rockwell Hardness
For some makers, Rockwell hardness sets the bar in potential sharpness for knife blades. Other factors are important but the scale tells the tale.
“Rockwell hardness has a huge influence on how sharp you can get a knife and how it will hold an edge,” asserted maker Murray Carter. “There may be a rebuttal out there, but I believe it is a universal truth. If hardness is related to how sharp you can get the blade and how it will hold an edge, the element of carbon is responsible for the hardness you can achieve.”
Hardness is forever linked to heat treating. Blades that are not heat treated properly just won’t stay sharp—and they are likely to fail in other performance metrics as well. Game over!
Heat Treating
“Unless it is heat treated properly, a steel is an undefined mass of metal with uncertain performance qualities,” custom knifemaker Jerry Hossom pointed out. “In fairness, it should not even be labeled as a specific type of steel because such a label implies proper heat treatment.” The blade material on Jerry’s fighter is the high-performance CPM 3V carbon steel. (Eric Eggly/PointSeven image)
Proclaimed Britton, “Heat treating is critically important for any steel.”
Added Hossom, “Unless it is heat treated properly, a steel is an undefined mass of metal with uncertain performance qualities. In fairness, it should not even be labeled as a specific type of steel because such a label implies proper heat treatment. I have my blades professionally heat treated by Paul Bos Heat Treating because I simply can’t do it as well as he can, especially with high alloy, high performance grades of steel.”
Carter echoed that sentiment.
“Heat treating is so important,” he emphasized. “All our blades are quenched in water, while some quench theirs in oil. Others are just air hardened. Water quenching is severe, an extreme form, and the only one harder is brine quenching.”
Geometry
Crowell ups the ante with the bold statement, “My strong opinion is that heat treat and geometry are more important to the performance of a knife than the specific type of steel. The best steel in the world would not fare well if the heat treat was bad and the geometry poor.”
Stressing edge geometry, Crowell further advises, “Edge geometry is particularly important. If a maker tests his work and is confident about the heat treat but the knife is not cutting well, the edge can be adjusted or ‘rolled’ to a different shape.”
What Factor is the Most Important?
So perhaps the most important takeaway from a discussion on sharpness is the advice the pros give to prospective buyers. Assessing the sharpness and relative quality of the future cutting experience involves a discerning eye and some attention to detail. What advice do custom knifemakers over the buying public?
“I would start by looking at the knife and seeing if the geometry looked good and how well made the knife appeared to be,” Crowell advised. “That would show the maker was paying attention to detail and would be a positive sign to me. I would ask what kind of steel was used and how it was heat treated, and by whom. There are several very good heat treaters out there. If the maker did the heat treat, I would ask how—oven, forge, kiln, torch? I would want to know if the maker tests his work and if he has chopped, whittled, and cut stuff.”
The inquiry is basic, Britton says, and the maker should be forthcoming with reasonable responses.
“Buying a knife from a reputable maker should be simple,” he noted. “My questions would be steel type, Rockwell hardness, and what kinds of tools the maker has in his shop. I’m a dinosaur. I won’t buy a production knife that was made by machines in batches of 20 or 30. I’m a proud member of the ABS and don’t know any steel beaters who mass produce any design.”
The sharpness of a knife blade goes well beyond the steel. The combination of steel, hardness, heat treat, edge geometry and handle ergonomics feeds the finished product. However, these are only as supportive of the knife’s function as the skill set of the maker’s hand in action.
Maybe it’s a bit of a contradiction, but both elegance and simplicity are elements of African blackwood, a handle material with a rapidly rising profile in the custom knife industry.
The color of the material combined with properties that make it a pleasure to work with has resulted in an explosion of interest. Ranging in luster from a reddish to a deep black hue, the wood is the product of a flowering tree also known as granadilla or mpingo. A relatively small tree, it grows primarily in the forests of Senegal east to the horn of Africa and in some parts of South Africa. Long used in musical instruments and high-end furniture, African blackwood is protected in order to prevent overharvesting.
Ken Hall’s sgian dubh features a 4.25-inch blade of twist damascus in a blend of 1075 spring and 15N20 nickel alloy steels. The pommel is formed from stone and giraffe bone. The African blackwood handle not only is ideal for its carvability but also in keeping with the sgian dubh’s name, which is Scottish for black knife.
When the material finds its way to a knife handle, something dazzling happens, and the makers who use it sing its praises. “I’ve always loved black-handled knives, especially with brass,” related Abel Price of Fayetteville, Arkansas, a part-time maker who is completely self-taught. “The black and gold combo just pops and gives it a beautifully elegant Art Deco feel.”
In the mountains of western North Carolina, ABS master smith Andrew Meers finds African blackwood a pleasure to work with. “It’s a dense and stable wood with a consistent grain structure that is excellent for handle material. It is workable and carves well,” he noted. “It has a rich, dark color and finishes out beautifully when sanded, and I haven’t noticed any cracking, shrinking or expanding, especially compared to the cracking I’ve noticed at times in similar looking wood such as ebony. I think these qualities contribute to its growing popularity among makers.”
Abel Price used African blackwood for the handle of his Deco Petty kitchen knife. He said the handle “was sculpted to contain design elements of the Art Deco era while hitting several notes of contrast: smooth and stippled, round and flat, black and white, and straight and sweeping lines.”
Andrew uses rasps and files for shaping, a flex shaft for carving, and prefers to sand and buff to finish his handles of the material. Last of all, he applies a coat of Danish oil. So, the finished product is just what the maker wants, and getting there is most often a pleasurable journey rather than an arduous trek. African blackwood exhibits excellent stability and takes a shine quite well. Custom makers agree that the material is ideal for carving, though whether it carves easily or not is open to the interpretation of the individual maker.
“I think the main reason for its carving ability is that it is hard,” commented Pekka Tuominen, a 17-year maker from Keitele, Finland. “Wood has to be hard if you wish to carve it with sharp and tight curves, and also polish those curves. Let’s say it’s not easy to carve, but when wood is hard you can get a good finish. Of course, it’s popular, too,” he observed. “Everybody knows that if some famous knifemaker uses a material, then the rest of the makers at least want to test it.”
MORE ATTRIBUTES
Waynesville, North Carolina-based ABS journeyman smith Ken Hall appreciates additional attributes of African blackwood. “I like using it because it’s a very dense wood, doesn’t require stabilizing, is hard and does not crack easily,” he stated. “It has a tight grain structure, so you don’t have to fill voids, and it can be carved or shaped without difficulty and provides a dark contrast to a steel blade.”
Huginn and Muninn are the names for two bowies by Richard Dawes. Huginn and Muninn are two mythical ravens that attend Odin. Dawes carved the African blackwood handles in a bird’s-head motif based on the style of bladesmith Bill Bagwell, one of the founders of the American Bladesmith Society.
Securing the handle to the blade most often involves a quality epoxy and a combination of pins, depending on the type of knife under construction. “I use rivets, pins and epoxy,” Pekka said, “but I don’t use African blackwood for full tangs. With hidden tangs sometimes just epoxy will keep the tang solid inside the handle.”
When Price went to work on his Deco Petty, a kitchen knife creation with a 6.5-inch blade of AEB-L stainless steel, overall length of 12 inches, and a handle of African blackwood, deer antler and a copper spacer, he knew just what he wanted to achieve. “The goal was to hit form and function,” he commented. “The ultra-thin cutting edge flexes with lateral pressure, and a Rockwell hardness of 61 [HRC] makes for a laser sharp tool in the kitchen. The handle was sculpted to contain design elements of the Art Deco era while hitting several notes of contrast: smooth and stippled, round and flat, black and white, and straight and sweeping lines. African blackwood does everything you want it to do with a perfect finish.”
Hall fashioned his sgian dubh as an interpretation of a historical Scottish knife. “African blackwood is the ideal wood for the sgian dubh because it can be carved and shaped to the hourglass design of the traditional sgian dubh handle,” he noted, “and provide an eye-catching contrast to the stainless steel bolster and pommel.” He added that blackwood is his preferred wood for a handle with a keyhole design because it can take the force applied to pressing the wood into the keyhole.
AESTHETICS & FUNCTION
Meers made the striking Vulpecula with a 12-inch damascus blade of 1084 carbon and 15N20 nickel alloy steels. Meanwhile, something of a surprise is embedded in the African blackwood handle.
Matt Gregory’s LWT (Lum-Walton Tanto) is based on a design by Mike Walton inspired by the late Bob Lum. The African blackwood handle is polished to a mirror shine and tapers slightly in reverse of the tang, and has a delicate bulge in the center to provide for a subtle yet improved grip. The sheath (not shown) is by Jill Gregory.
“Vulpecula is a reliquary dagger,” Andrew explained. “It is inspired by the tradition of keeping objects, often hair or remains, in an embellished vessel. I found a fox tooth and had it sealed in a glass vial by a friend. I then built this dagger to house the vial as a reliquary.
“The blade fittings and handle are adorned with 24-karat gold inlay depicting a large fox, its skull and paw prints. The hardware is torch-cut steel plated with gold that is brushed back. Vulpecula, the ‘Little Fox’ constellation, is set into the blade with blue diamonds.
“It was a combination of aesthetic and functional choices that made me choose blackwood for this piece,” he concluded. “The wood machines and carves well, so for this handle it was the ideal choice. The blackwood’s depth serves as a rich contrast to the bright gold used in small inlays to represent a starry sky and the fox prints as well.”
Tuominen built his Protector, or Suojaleijee, dagger with a 5-inch welded damascus blade of 1080 and 80CrV2 carbon and 15N20 nickel-alloy steels, a guard of Nicorros (a copper/nickel alloy), African blackwood handle, and a handmade leather sheath with stainless clip. The blade is 7 inches and overall length is 12 inches. “It’s a custom order for an American collector,” he noted. “I used African blackwood because it’s black and more stable than other black-colored woods.”
SOURCES
While African blackwood remains protected, it can be found through various sources. However, Abel has a warning.
“I stocked up at a Rockler store a few years ago,” he remarked. “I’m not looking forward to finding another supplier. I believe the demand is outpacing the supply, and as conservation efforts increase, as they should, so will the price.”
Kelly Vermeer Vella em- ploys African blackwood and sterling silver for the handle of her dagger. The blade is a damascus of 1075 spring and 15N20 nickel-alloy steel.
Hall searches eBay for African blackwood and makes his selection based on what is available. Pricing, he says, runs $20 to $30 for a handle block or set of scales. While Pekka often sources his African blackwood from European knife shows, he also checks the internet for block-size pieces. Meers has had success with retail suppliers and finds a broad range of dimensions.
The custom knifemaker and the consumer alike have taken a new interest in African blackwood, and that fascination is not likely to fade in the near future.
A view of one corner of the BLADE Show floor from above.
BLADE Show 2019 kicks off June 7 in Atlanta. In the hurry to get everything ready, don’t forget these considerations.
Pack comfortable shoes for all that standing and walking.
If you’re flying in, figure out how you’re getting from from the airport to your hotel. Most people opt for a taxi (available right outside the doors of the airport), a ride-sharing service or a shuttle (if your hotel provides one).
Then figure out how you’re getting from your hotel to the Cobb Galleria.
The BLADE Show is huge, and it grows every year. Make an itinerary of exhibitors and activities you want to hit so that you don’t get too far into the weeds.
On the other hand, casually browsing the show has benefits, too. You never know what surprises you might find.
How will you get the new knives you purchased home? The most popular way is with a courier service, like UPS or FedEx. Scout out locations ahead of time. Don’t wait until the last minute!
If you plan to make purchases with cash, it’s a smart idea to arrive with it in hand rather than relying on ATMs. There are ATMs located on-site, but if there’s a run on cash, they might be empty.
On that note, how will you keep your cash secure as you walk the show floor?
How will you keep your knives and cash secure in your hotel room?
Have you set a budget for yourself about how much to spend on knives? It’s easy to get carried away on the show floor.
Last, but certainly not least, safety is important. How you carry every other day is different from how you carry at a crowded knife show. Please don’t be this guy:
For Those Willing to Wait (a Little): Realsteel Knives Relict
The Relict, from Realsteel Knives, won’t be out until May 18, but it’s already catching some buzz. Full specs aren’t available yet, but the company did have this to say on its Facebook page:
Named purposely after its design features, that include a bullet cartridge opener, extendable clip and splicingly sharp S35VN cutting edge, the Relict takes Eastern European designs of past and adds that extra bit of class to them.
Because the Relict sits on the higher end of Realsteel’s catalog, expect it to go for a few hundred dollars when it hits shelves.
For the Bushcrafter: Condor Tool & Knife Headstrong
The Headstrong, from Condor Tool & Knife, sports a 1095 blade, a choice steel for bushcrafters and survivalist types who enjoy versatility in their sharpening methods. That the blade is uncoated may speak to the aesthetic preference of its designer, Joe Flowers, but it’s worth noting because of how passionate bushcrafters are about their knives.
It’s small, it only comes in one color and it comes with a firesteel. It’s Morakniv’s Eldris Limited Edition 2018.
In addition to its collectibility, the Eldris is basically a high-functioning fire-starting kit. A small fixed blade knife replaces an otherwise single-purpose striker. An aubergine handle and sheath (that’s a color similar to eggplant, not a material) suggests a female user, but there’s no reason to pigeonhole this kit in that way. If you need a fire in a pinch, the last thing on your mind will be aubergine. It’s too hard to spell anyway.
For the Mil-Tac Crowd: Bear OPS New AC-551-B4-B Tactical Automatic Knife
It won’t ship outside of Alabama, but maybe an authorized dealer can wrap your hands around the G10 on Bear OPS’s new AC-551-B4-B. That’s a mouthful to say, so Bear OPS gave it the “Bold Action V” name, too.
No matter what you call it, it continues Bear OPS’s line of autos at economical prices.
For Collectors: Victorinox Deluxe Tinker Damast Limited Edition 2018
Part of the appeal of Swiss army knives (SAK) is their bang-for-buck factor. They’re affordable and offer loads of utility. But what about higher end SAKs for collectors interested in another kind of value?
Collectors should take note of the Deluxe Tinker Damast Limited Edition 2018, from Victorinox. It offers the same multi-tool platform SAK fans expect, plus features that wouldn’t look out of place at a black-tie event.
From Victorinox:
This year’s limited edition Damast Swiss Army Knife features the “Ladder” Damast pattern forged from an impressive 333 layers of steel and is complimented by plum wood scales with a metal inlay cross + shield. The 2018 model marks the first use of plum wood and the first Damast edition with combination pliers.
The Cutlery Hall Of Fame is the only such body to recognize all members of the knife community. Nominated and voted on by living Cutlery Hall Of Famers, the inductees must have a) demonstrated extraordinary service to the knife industry; b) displayed honesty, character and integrity; c) advanced the industry by the creativity and originality of their works or contributions; d) as ambassadors or outstanding contributors furthered the positive impact of the knife industry on the world at large; and e) in summary, demonstrated a worthiness to be a member of such a prestigious group.
Dan Delavan
Dan Delavan
Along with his wife Pam, Dan closed the Plaza Cutlery retail knife shop in the South Coast Plaza Shopping Resort in Costa Mesa, California in January after 44 years as one of the world’s most forward thinking of brick-and-mortar cutlery stores. Dan was in on the ground floor, helping his parents, Del and Lois, open the store in 1974.
From the outset, Plaza was a pioneer in selling knives in a mall setting and custom knives in general—the latter at Dan’s insistence and something only a handful of stores at most did at the time. Plaza was a leader in hands-on customer service; sharpening while you waited; in-store meet-the-knifemaker events; custom and factory knife exclusives; the latest factory knives, swords, kitchen knives and assorted knife accessories; and later and through to today, online knife sales, including Randall knives and customs.
The Delavans started what would become the California Custom Knife Show in the early 1980s and made it into one of the industry’s premier cutlery events, including a visit from Sylvester Stallone that helped pave the way for the Rambo knife revolution that transformed the knife culture in general. Dan and Pam sold that show and started another one that was very successful. They recently sold the latter and it will continue under new management.
Dan also helped start the National Independent Cutlery Association, a buying group for domestic cutlery shops that boasted 100 member stores at its height. NICA helped its members in their business relationships with knife manufacturers and importers, had an annual knife and knife exclusives, and otherwise aided in furthering the availability of fine cutlery to its members’ customers nationwide.
An image from 1975 of Dan Delavan in the old Plaza Cutlery knife store one year after it opened.
Phil Lobred
Phil Lobred
Phil may be best remembered for commissioning what is arguably the most important knife of the modern custom era: the King Tut Dagger Reproduction by fellow Hall-Of-Famer Buster Warenski.
Beginning in 1983 Phil coordinated the annual Art Knife Invitational, an intimate gathering of the world’s elite knifemakers in San Diego, who in turn offered their knives for sale to the world’s elite custom knife collectors. The show took about a 10-year hiatus but returned as a biennial event and continued to draw the elites worldwide. It continues under the direction of Phil’s daughter, Sandee.
For a time in the 1970s Phil shared his home with Hall-Of-Famer Gil Hibben. Hibben made knives in Phil’s garage, with Phil by his side. Later, with Phil in tow, Gil enjoyed an audience with a special fan of Hibben knives: Elvis Presley. Phil and Gil visited with Elvis until the wee hours, a meeting that remains the stuff of legend.
Phil’s vast knowledge of custom knives and also 19th-century dress bowies proved an invaluable source of information for many, including BLADE. Perhaps Phil’s most important contribution was his faithful patronage and support of the custom knife industry. He bought and collected the knives of many makers from the early 1970s on at a time when the industry needed such buyers/collectors desperately to survive. As a Hall-Of-Fame nominator noted, “Phil was the definition of a knife collector, always talking and promoting knives. Then he started his Art Knife Invitational and that changed the custom knife industry forever.”
The King Tut dagger repro Lobred commissioned Buster Warenski to create.
