Knife collecting is an extremely rewarding experience for knife enthusiasts. There truly is a knife for everyone. Many increase or hold their value throughout the years, making collecting knives something to pass on to the next generation of knife collectors.
Grace Horne makes what, for her especially, is the buy of a lifetime.
Scissors-making maven Grace Horne scored a find of a lifetime recently when she obtained the antique Scissor Sword made in 1851 by George Oates of Sheffield, England.
A Sheffield native, Grace thought she had lost out on the one-of-a-kind piece when someone else bought it after her computer crashed halfway through an auction of David Hayden-Wright’s collection of historical British knives in 2023.However, a dealer contacted her this past spring with a picture of the piece asking if she had ever seen it. Grace of course had, asked who owned it, contacted the owner and bought it from him at BLADE Show 2024.
Grace Horne
The sword was made especially for London’s iconic 1851 Crystal Palace Exhibition and is in Wright’s book, The Heritage of English Knives. In part, Wright wrote the sword was “conceived to represent two completely different visual images, one an elegant diamond tapering blade flat hilted court sword … the other an exceptionally large pair of attractive display tailor’s scissors … The long split blades form a diamond section with closing catch piece at the tip, each has foliate blued panels highlighted by the mirror polished steel, the steel ribbed ricasso forming the concealed hinge.
The split inner blade faces with white frost etched floral panels and the scrolled legend, ‘Manufactured by – George Oates – Sheffield.’” We seriously doubt Grace and the Scissor Sword will part company anytime soon.
Top knife observers decipher the best custom huntering knives ever made.
It’s an ongoing discussion, or maybe a debate, slightly contentious but always cordial. When the question is pondered regarding who made the best custom hunting knives ever, a few names quickly come to mind.
Of course, there is no right or wrong answer. It’s a matter of interpretation, fit and finish, design, form and function, and the feel of the knife in the hand when it’s time to get down to the business of skinning and dressing game. Each respected and well-traveled knifemaker and observer consulted below can tell the stories that back up his top few. But in the end there is no doubt. Each of these revered custom makers and/or bladesmiths has got game. It’s proven in their work.
Bruce Voyles’ Take
BLADE Magazine Cutlery Hall-of-Fame® member and knife auctioneer Bruce Voyles accompanied his fellow Cutlery Hall of Famer, the legendary George Herron, on a few hunting trips and experienced his work in the field.
Among the top hunting knives BLADE Magazine Cutlery Hall-of-Fame® member George Herron made are the Model 6 (top) and the Model 3 skinner, aka Little Dude (bottom). The Model 6 sports a 4-inch blade and 9-inch overall length. Blade and overall lengths for the Little Dude: 2.75 and 6.75 inches. Respective blade steel, handle material and construction on each knife are ATS-34 stainless, curly maple and tapered tang. (Jay Mealing knife image)
“George was a fantastic hunter,” Bruce remembered. “When a group of us would go with him, we might kill three deer in a four-day morning and afternoon hunt, but he could get eight if he wanted to.”
Bruce tells the story of an Outdoor Writers Association hunt Herron organized after an invitation from a South Carolina country gentleman that George had helped change a tire. It seems the man owned a large tract of land, and in return for Herron’s kindness he was allowed to hunt deer on the property.
“When we got to that plantation, every guide there was carrying a George Herron knife,” Bruce commented. “The thing about George’s knives is that when you held one and used it, you were using a knife made by a man who had been there. He made tremendous skinning knives, and the balance and feel in the hand are unsurpassed. The balance, shape of the handle, and minor nuances of the tilt of the blade, its thinness, and the tapered tang set Herron knives apart.”
According to BLADE Magazine Cutlery Hall-of-Fame® member Bruce Voyles, the knives of Cutlery Hall-of-Famer Bill Moran feel like an extension of your hand. Mr. Moran’s engraved gentleman’s hunter in damascus and with one of his iconic moon logo sheaths is representative of Bruce’s sentiment. (Eric Eggly/PointSeven image)
According to Voyles, the knives of Herron, Jerry Fisk and Cutlery Hall-of-Famer Bill Moran feel like an extension of the hand. Herron also made knives that were affordable for a hunter to purchase. Since he put many knives in the hunters’ hands because of a reasonable price point, the praise of his work in the shop spread far and wide. Today, there are several quality custom knifemakers contending for recognition, and they include Ralph Smith, Larry Page and Wayne Hendrix to name just a trio, Bruce says.
“Wayne was one of the guys who trained in George’s shop, and while we were hunting he had his own shop set up on the grounds making knives to sell directly to hunters,” he noted. “He was a guide in South Carolina and approaches making hunting knives the same way George did. He’s the closest to George’s knives now.”
Jim Sornberger’s Take
Cutlery Hall-of-Fame knifemaker Jim Sornberger remembers the days years ago when names such as Harry Morseth and Cutlery Hall-of-Famers Bo Randall and Rudy Ruana were synonymous with excellence in hunting knife craftsmanship. He also mentions the fine work of Corbet Sigman and other contemporaries of the 1960s and ’70s.
“The first new model A.G. Russell made when he acquired Morseth Knives from Harry Morseth was the Model 1, also known as the Ozark Hunter,” Tom Krein noted. “It is a drop-point camp and hunting knife with a 3.5-inch blade, hidden tang, nice guard, and thin-shaped Micarta® handle that make the knife extremely light.” This version sports a stacked leather and fiber spacer handle with a stag butt. (Nordic Knives image)
“It goes back to when I was a kid and my uncle had a gun store in Redding, California,” Jim said. “Those names were famous, and I met Harry Morseth in the ’50s. His Cascade Skinner was my favorite hunting knife for many years with a great handle shape in leather or stag for a good grip and a guard, which is really important in a good hunting knife because you’ve got to hang onto an animal or fish if you’re working and you can’t afford to have the knife slip in your hand. The blades were laminated Brusletto steel from Norway, and the knives came with a safety sheath. Mine was copper-lined leather in the shape of the knife, and later models had a fiber material liner inside.”
Sornberger also mentions Cutlery Hall-of-Famer Gil Hibben, Ruffin Johnson and Clay Gault as makers of outstanding hunting knives. However, trying to identify custom makers that are in that rarefied air with the masters these days requires some reflection. “It’s tough because a lot of guys follow trends nowadays and they find it’s cheaper and faster to make a knife without a guard,” he opined. “Randy Lee has been around a long time and still makes a lot of good using knives. Dave Pitt in Redding, California, does as well, and that’s hunting country. Randy has a stubby little hunter with a 3.25-inch blade and nice guard, and that’s plenty of knife for most hunting applications.”
Tom Krein’s Take
Veteran knifemaker Tom Krein is upfront with his thoughts on the best maker of hunting knives.
“I actually worked for Bob Dozier and A.G. Russell from the mid-1990s to 2001, and honestly this is a tough one. We all use hunting knives differently in the field and for different things, but I would put Bob Dozier forward. He grew up hunting in the bayous and providing for his family, [and] he has a lot of experience making knives. He is an exceptional craftsman, and in the 1980s I feel one of the pioneers in the style of distilling everything down to make hunting knives easier to make and get them in everybody’s hands.”
Award-winning bladesmith Jerry Fisk’s Sendero hunter served as Tom Krein’s inspiration to make knives. (Eric Eggly/PointSeven image)
Krein likes the reasonable price point of a Dozier hunting knife and the attributes that characterize the maker’s outstanding work: a full tang, thinly ground blade, Micarta® handle, and often a Kydex sheath system for safety. “Dozier’s knives check all my boxes,” he related. “The Dozier Personal with a 2-inch blade works great on game, and an investment of $300 will get you a fine Dozier knife.”
Tom also has seen the Morseth line continue with A.G Russell and has tremendous respect for the maker’s legacy. “The first new model A.G. made when he acquired Morseth Knives from Harry was the Model 1, also known as the Ozark Hunter,” Krein noted. “It is a drop-point camp and hunting knife with a 3.5-inch blade, hidden tang, nice guard, and thin-shaped Micarta® handle that make the knife extremely light.”
Tom tips his hat to custom knifemaker Brian Goode, whose hunters and skinners are gaining notice, while he also acknowledges the great work of Jerry Fisk, whose Sendero served as Krein’s own inspiration to begin making knives. And then there’s the geometry and thinness of the blade in ABS master smith James Rodebaugh’s hunting knives that Krein calls “beautiful work.”
James Rodebaugh’s Take
Speaking of Rodebaugh, his thoughts on the best maker of hunting knives include George Herron, whose work he describes as “superb,” and two more greats, D. E. Henry and Cutlery Hall-of-Famer Jimmy Lile. “The first knife I ever owned was a Lile hunter, and he made one heck of a hunting knife,” James remarked. “That knife was my primary hunter before I even started making knives, and it did all I ever asked of it.”
ABS master smith James Rodebaugh is high on the work of Missouri-based maker Jason Coy and ABS master smiths Jason Knight and Adam DesRosiers. Adam’s clip-point hunter in damascus and stag is a stunner. (SharpByCoop image)
According to Rodebaugh, edge geometry is critical in a hunting knife, along with the design and profile of the handle and proper Rockwell hardness. Each of these characteristics is essential, and the Lile knife was “about as perfect as I’ve ever held, and I’ve dressed well north of 300 animals, not counting small game.”
Rodebaugh’s own knives are reflections of his hunting experience. He has been lauded for the field performance of his Raised Swedge Hunter, which some refer to as a harpoon point, that was actually inspired by a Marble’s hunter design. He has been making the Outfitter hunting knife for about 15 years, forging the blades in batches of five with O1 tool steel hardened to a Rockwell of 60-61 HRC, and a Micarta handle with a palm swell for added comfort.
James has been impressed recently with the work of Missouri-based maker Jason Coy and ABS master smiths Adam DesRosiers and Jason Knight. “Jason saw my raised swedge years ago and asked to use it, and I said ‘absolutely!’ Nobody has probably designed a ‘new’ blade in the last 1,000 years or so. Adam has worked with it as well, and now everybody in the country produces that design feature.”
Of Course, Bob Loveless
The names of custom makers past and present conjure images of their outstanding hunting knives. But no story on the topic would be complete without mention of Cutlery Hall-of-Famer Bob Loveless. While some have said Loveless was a fine maker, some have also said his fit and finish were reasonably good—not great. Nonetheless, the thing about Loveless was his eye for design.
According to BLADE Magazine Cutlery Hall-of-Fame® member Jim Sornberger, Randy Lee has been around a long time and still makes a lot of good using knives. An example is his drop point with an amber-spacer look reminiscent of the My Knife by BLADE Magazine Cutlery Hall-of-Fame® member D’ Holder, a pretty fair maker of hunting knives in his own right. (SharpByCoop image)
“Loveless went to design school,” Voyles explained. “He made a knife with eye appeal. It was different, and a lot of people don’t understand why, but it was the natural French curve. It was the design. People say Loveless made the perfect hunting knife because of the drop point, and to me it doesn’t work as good as one of George Herron’s knives.”
Sornberger knew Loveless well. “Bob was a good friend and signed for me to get into the Guild,” Jim began. “I think Bob found a universal handle shape that he used on all his knives, and it was a combination of a good kitchen knife and all with a guard except for a couple of models he made later on. All fit well in the hand. Bob got a lot of publicity. He could sell snow to Eskimos.”
Krein sees the Loveless drop point as iconic. “But there is a difference with the variance in game animals from squirrels to rabbits to deer, elk and moose. So best at what? I personally think the Loveless drop point is a fine design, but I wouldn’t take it into the woods,” he observed. “It’s just bigger than I like, and I like hidden tangs for hunting knives.”
Rodebaugh reminds that Loveless is a giant among custom knifemakers, and his hunters are noteworthy to say the least. “I met Bob many years ago and didn’t live far from him in California,” James recalled. “He made a good knife, and the drop point had a lot of impact on the industry, but contemporary with Bob were guys like Herron that produced excellent knives. Loveless made a solid working knife and took that to great heights through pretty good marketing, along with his popularizing of ATS-34 stainless blade steel.”
All hunters have a favorite knife, a trusted companion in the field that is handy, dependable, and built for the jobs encountered. While discussing the topic of just who might be the best custom maker of hunting knives is a never-ending exercise, suffice it to say that hunters are fortunate to find such steadfast companion tools when they are needed most.
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We talk with those who know Bill Moran best to determine how many damascus blades the godfather of the craft forged.
BLADE Magazine Cutlery Hall-of-Fame® member Bill Moran is and will forever be remembered as the father of modern damascus steel. He and a few early devotees popularized damascus during an era when the art of bladesmithing was an endangered species in the realm of the artisan.
Though Moran was partial to smoking a pipe, he liked an occasional stogie as well. (Pete Cohan knife image)
It was Moran who shocked the custom knife world in 1973 when he brought eight knives to The Knifemakers’ Guild Show in Kansas City, Missouri. Those historic eight sported blades of Moran’s damascus steel and they created a sensation. Cutlery Hall-of-Famer, longtime journalist and friend of Moran’s, and a respected member of the knife community, B. R. Hughes remembered how the event electrified those who attended.
This is the first damascus knife Moran ever made. He forged “No. 1” circa 1972. It was misplaced for 30 years until Nancy Hendrickson found it in Moran’s house. (Pete Cohan knife image)
“When my wife [Carolyn] and I drove up to the Muehlebach Hotel in Kansas City, a friend of mine came out and said, ‘You gotta get in there and see the damascus knives Moran has on his table.’ Those knives were the talk of the show. Bill also had mimeographed sheets that explained what damascus steel was and how it was made. He gave those sheets away to anyone who desired one.”
Moran made basic damascus knives. “They weren’t elaborate and this, that and the other thing, but most of them were for use,” B. R. Hughes noted. (Exquisiteknives.com image)
Three years later, Hughes joined Moran and bladesmiths Bill Bagwell and Don Hastings as the quartet that founded the American Bladesmith Society (ABS). When the ABS was founded in 1976, bladesmithing was on life support, and probably fewer than a dozen smiths were forging knives. Today, the Society includes more than 2,000 members and the future of the craft has been secured. Meanwhile, Moran deserves the credit as the catalyst for modern bladesmithing.
B. R. Hughes said Moran made some art daggers that “were a bit elaborate for the day.” An example is this large quillon dagger. (Exquisiteknives.com image)
How Many Damascus Knives Did Moran Make?
While there is no question that Moran and other dedicated disciples of the forged blade brought damascus and the ring of the hammer back to life in the early-to-mid-1970s, there is some conjecture as to just how many such knives the great Moran forged and completed himself. The thought of how many Moran damascus knives were made and exist today is tantalizing, and, of course, what’s a great legend without a bit of mystery and conjecture? Exploring Moran’s body of work and the damascus element within provides some insight into the man, the legend who padded about on the creaky floor of his Maryland shop, sometimes chewing tobacco, but rarely alone when his doors were open as crowds came to see the wizard work.
Back in the day, a Moran damascus knife was a challenge to own, considering the time Moran spent in his shop with the material actually able to work without the distraction of visitors, the many hours of labor required to produce a damascus billet, and the higher price for such a piece that naturally followed. (Exquisiteknives.com image)
Collectors such as Cutlery Hall-of-Famer Butch and Rita Winter bought the first of Moran’s damascus knives during that historic Guild Show more than a half-century ago, and, as Hughes relates, “Moran made basic damascus knives. Most of his were what folks would call ‘using’ knives. They weren’t elaborate and this, that, and the other thing, but most of them were for use. He did make some art daggers that I thought were a bit elaborate for the day.”
Dave Harvey, Nordic Knives
Hughes remembers that Moran himself was rather vague on the number of damascus knives he actually made. However, probably the best estimate is that fewer than 100 Moran damascus knives were made during a career that spanned more than 50 years.
“He liked the random pattern and the ladder pattern,” B. R. remembered, “and he could do some pretty good patterns, but it took a lot of time. He was very happy just making ladder pattern and stuff like that, and he continued making non-damascus knives and about 40 folders. When he was in his shop, there were always five or six locals in there talking to him and watching him work.” Agreed Cutlery Hall-of-Famer and ABS master smith Jay Hendrickson, a close friend of Moran for 30 years, “Bill had so many visitors to his shop on a daily basis that it is a wonder he ever got anything accomplished.”
According to Jay Hendrickson, Moran made all of his damascus in a coal fire. “All of Bill’s experiments were with coal, as gas forges were not popular at the time,” Jay explained. “In today’s world, gas forges are almost always used for damascus making because of adjustable temperature and the cleanliness of propane gas.” (vintage photo of Moran in his shop circa the 1960s)
Hendrickson served as the executor of Moran’s estate and founded the Moran Foundation to preserve the great bladesmith’s legacy, serving as its president for 10 years. Jay observed that Moran made a workingman’s knife with quality that was spot-on, though there may have been an occasional flaw in the solder on his early pieces. Nonetheless, Jay says, Bill’s knives always cut.
As for Moran’s damascus knife productivity, Hendrickson offered, “This is strictly a judgment call on my part, but I would say Bill made less than 100 damascus knives. I counted 36 in our Forever A Legend book. I only know a few people that own Bill’s damascus knives, but I think they are sold and traded often between collectors. You also see Bill’s damascus knives occasionally sold at auctions.”
Butch and Rita Winter bought this damascus quillon dagger from Bill Moran at the 1973 Knifemakers’ Guild Show where Moran introduced modern damascus knives. It was one of eight damascus knives Moran brought to the show. The tang is marked DAMASCUS in all uppercase letters. (image courtesy of Rita Winter)
Jay verifies the original sale of a Moran damascus quillon dagger and sheath to Butch and Rita Winter and adds a bit more information. “Rita Winter recently sold Bill’s first damascus dagger to Mr. Doug Hook, a Tennessee collector,” he commented. “Two years ago, I repaired one of the twisted wires on the handle for Mr. Hook. Because of that contact I was able to confirm the original purchase as Doug has written verification of the original sales transaction and the invoice.”
So where are the majority of Moran’s damascus treasures today? Longtime purveyor Dave Harvey of nordicknives.com is straightforward—“in collections around the world. Values vary and depend largely on the particular knife. But they are generally worth at least double that of [one of Moran’s straight carbon steel blades], sometimes even more.”
Dave Ellis said the first of the Moran damascus knives are quite valuable and guessed they would start at least at $10,000 and go up from there. Dave holds an early 1970s Moran damascus hunter at BLADE Show 2023.
Back in the day, a Moran damascus knife was a challenge to own, considering the time Moran spent in his shop with the material actually able to work without the distraction of visitors, the many hours of labor required to produce a damascus billet, and the higher price for such a piece that naturally followed. Dave Ellis of Exquisiteknives.com reasoned, “I could not say how many damascus knives Moran made in his lifetime, but certainly not a large number. Many of Moran’s damascus pieces reside in private collections, as well as the Moran Museum. I personally have owned and still own some and have sold a number of the finer pieces to overseas clients.
“I believe he made four or five patterns. Damascus steel was and still is a laborious process. Bill’s prices for his damascus knives were quite high for the time, so he made and sold mostly carbon steel pieces. Damascus was reserved for higher-end clientele and foreign dignitaries. A good number of the damascus knives were fighters and bowies. Damascus hunters were also made, many with Bill’s twist pattern steel, maidenhair. I do not know of any mosaic steel knives that Moran made. The first of the Moran damascus knives are quite valuable, and I would guess that they would start at least at $10,000 and go up from there.”
Along with Bill Bagwell and Don Hastings, Bill Moran (left) and B. R. Hughes (right) founded the American Bladesmith Society in 1976. Hughes is the only surviving founding member. (Buddy Thomason image)
HOW HE MADE THEM Hendrickson is familiar with Moran’s most common damascus patterns, the maidenhair twist, ladder pattern and others. “He knew how to fuse metal, as he learned that technique working on equipment on the family farm,” Jay remarked. “On the farm he made knives from whatever he could get his hands on, old springs, files, and rasps, for example. He could also buy steel from a local hardware store in town. Bill also knew the difference between plain iron and high carbon steel. His first damascus experience began by using one piece of steel and one piece of iron. He welded the two together, drew it out and folded it many times.”
The process yielded insight for Moran, and he learned from experience. At times during the process of hammering and folding, he realized that the steel was absorbing heat quicker than the iron because it was on the outside of the billet. Therefore, he moved to one piece of iron with steel in the center, and then a second piece of iron, using O1 tool steel and a carbon mix of 33 percent. According to Jay, this combination gave the billet the right hardness without the need for tempering. Moran’s test of the finished knife was to carve wood for two hours with no loss to the cutting edge, and he was satisfied with the results using this mixture.
Moran’s test of the finished damascus knife was to carve wood for two hours with no loss to the cutting edge. An example is this clip-point model, again in a ladder pattern. (Exquisiteknives.com image)
“Bill made all of his damascus in a coal fire,” Hendrickson recalled. “A hot coal fire can melt steel as temperatures can reach over 2,700 degrees Fahrenheit, which is the melting point of steel. That is why Bill added iron to the outside of the billet, as iron is less apt to burn as quickly as steel. All of Bill’s experiments were with coal, as gas forges were not popular at the time. In today’s world, gas forges are almost always used for damascus making because of adjustable temperature and the cleanliness of propane gas. Therefore, the burning of steel to a great deal has been eliminated with the use of gas forges.”
Hendrickson attributes the relative scarcity of Moran damascus knives to the maker’s affinity for producing using knives, constraints on time and other factors. “Bill was truly a supporter of the art knife,” he noted, “and along with others they created that industry. Collectors were willing to pay big time for exceptionally well-made knives, and Bill, like other top-notch makers, profited as this industry took hold. However, Bill’s true passion was in using knives, such as camp knives, hunters and small utility knives, of which he made many. The vast majority of his knives came from customers wanting working knives.
A good number of Moran’s damascus knives were fighters and bowies, according to Dave Ellis. This classic ST-24 in ladder-pattern damascus and curly maple handle with fancy wire inlay is a favorite of Moran collectors. (Exquisiteknives.com image)
“Bill liked to experiment with damascus. For example, he would slip in an added piece of iron after many folds to gain toughness in the end product. Another example was where he completed a damascus billet to the desired number of welds. He then cut it in two and added a piece of high carbon steel to form the middle and welded the two damascus pieces on both sides of the high carbon steel. Once that was completed, Bill forged the billet into a knife. One might call the finished product a damascus san-mai. Bill liked the various patterns that were being developed beyond the more basic patterns that he originally developed. To Bill, mosaic knives were art knives, not to be used but just admired. He didn’t like the process of welding pieces together to make a knife. Remember, he was more into using knives where the grain within the steel followed the entire edge of the blade.”
Through the years, Moran became a legend, leaving a legacy of learning, teaching, giving information freely, and welcoming many to his shop. He paid tribute in steel to the wonder of damascus, the art knife and the using knife. Today’s body of bladesmiths still looks to him as the guiding light that led them to the glow of the forge and the spark of the hammer on hot steel. Those who own or admire the few damascus knives that Moran completed continue to do so for their beauty, their imagination, their rarity, and simply because they bear the touch of the master’s hand.
While it may appear to be an alien looking back at you, the Relic Dagger by ABS journeyman smith Ryan Breuer is inspired by Egyptian daggers from the Bronze Age that were made over 6,000 years ago.
The pommel on the originals are believed to have been made of hippo ivory.
“There’s such a striking shape to it,” Ryan said. “It very clearly looks like a human form in the handle holding up either a head or maybe the sun. It’s as if those who made the daggers thousands of years ago are looking back at me. It’s almost spooky.”
The damascus blade is a collaboration between Ryan and bladesmith Jason Morrissey, though Ryan gives Jason most of the credit for the steel. The blade is a composite mosaic damascus, with twisted mosaic edge bars of Jason’s steel and Ryan’s “eyes” mosaic in the core.
Ryan Breuer
Ryan ground, heat treated and finished the blade. The hilt is cast bronze made with the lost-wax process. The pommel is pattern-welded wrought iron and pure nickel, manipulated to imitate layers of organic ivory. Ryan drilled the two holes for the “eyes.”
Barret Chrisman puts a modern spin on a vintage Remington design.
Barret Chrisman’s contemporary take on the classic Remington 1306 Bullet lockback combines tradition and hi-tech in one handsome custom pocketknife.
Barret outfitted his repro with all cutting-edge materials, including a blade of Loki pattern damascus by Damasteel, a handle of checkered titanium that resembles jigging and a titanium bullet shield. “I’ve seen people jig titanium before but I wanted to try checkering, so I made up a custom pantograph template and tried it out,” he said. He anodized the handle a purplish bronze.
Barret Chrisman
“It’s a modern take on an old school knife everybody likes,” Barret noted, “and I’ll probably be doing the same kind of thing in the future.”
Remington 1306 Bullet Modern Reproduction Specs Maker: Barret Chrisman Blade length: 4” Blade material: Loki pattern damascus by Damasteel Blade grind: Full flat Handle frame: Titanium Handle scales: Checkered titanium w/inlaid titanium bullet shield Lock: Lockback Closed length: 47/8” Maker’s price for a similar knife: $1,500
Know the visual tells of whether a hamon is done properly or not.
For centuries, the hamon has served as a mark of excellence in the forging of blades.
Conspicuous by its picturesque line generally dissecting the midsection of a differentially heat-treated blade, it demonstrates a skill set highly valued among top bladesmiths and swordsmiths. Moreover, the difference between a good hamon and one that doesn’t hit the mark can help the maker, owner and user in understanding the prospective performance of the blade itself.
Basically, think of a hamon as the equator between the hard and softer or more malleable areas of the blade. Everything above the hamon is softer, which translates as making the back of the blade malleable and thus tougher. In other words, the blade will bend but not break. Meanwhile, everything below the hamon is harder, which is better for holding an edge.
Emiliano Carrillo indicated a hamon should be continuous, with no areas falling off the edge of the blade. Francesco Piccinin and Denis Mura provide such a hamon on their bowie collaboration. Blade material is C130 carbon steel, according to Eurotechni (eurotechni.com) a grade that makes it possible to obtain “pretty hamons.” Overall length: 13 inches. (Jocelyn Frasier image)
“There are several things that make the edge pattern successful,” explained bladesmith Emiliano Carrillo of Sun and Stars Forge. “The first two are practical.
The hamon should be continuous; there should be no areas of it that fall off the edge of the blade. It should be high enough that the knife can support a lifetime of sharpening and removal of edge material without biting into soft material. For kitchen knives this can be somewhat low to the edge, as the geometry will have to be adjusted if a large amount of edge material is removed.
“The rest are my own opinion and are purely subjective. I’m a bladesmith who works in the historical tradition and therefore my work draws on traditional Japanese metalwork when it comes to hamon aesthetic and technique.
“I think a good hamon should be active and rippling, showcasing your imagination and artistic vision,” Emiliano continued. “It should have good undulations and look like it’s been drawn on the blade with an ink brush. There should be ashi [legs], which are areas of hardening within the hamon that drip down towards the edge. Sometimes a repeating motif, like sanbonsugi [three cedars] or choji [clove] can be utilized to guide the way you want to design the hamon.”
ABS master smith Mike Quesenberry agrees that there are hallmarks to a good hamon that are readily discernable.
“First and foremost, a good hamon will not come down to the cutting edge,” he remarked. “That is a no-no because it is bringing down soft steel where you want hard steel. I want a bigger transition area, and you can credit the Japanese for starting it. As the technology evolved over hundreds of years, they found bits and pieces coming down from the hamon, giving strength to the edge.”
ABS master smith Brion Tomberlin adds that the proper hamon is visible to the eye even when the maker is finishing the grinding process at 120 grit.
“The Japanese have many terms for effects you see and want to see in a nice hamon,” he commented. “And you can spend years studying these. For our purposes, you want it to be very visible and make a very visible demarcation from the hardened area to the softer area. Additional effects such as ashi, which are wispy cloud-like formations hanging down from the main line, are nice and show control.”
Steel Selection
Brion Tomberlin stated that low-alloy carbon steels such as W2, W1, 1095 and 1075 yield the greatest success in producing good hamons. ABS apprentice smith Jesse Hu forged the 8.5-inch blade of his classic integral chef’s knife from W1. Overall length: 14 inches. (Jocelyn Frasier image)
Success or frustration in the hamon process begins with the proper steel, and BLADE Magazine Cutlery Hall-of-Fame® member/ABS master smith Steve Schwarzer emphasizes that point.
“Steel selection is critical,” he observed. “You want a simple carbon steel with .70 to 1 percent carbon, and guys are doing ‘gee whiz’ work using a formula with W2 steel, which is a very simple steel. The time-temperature-transformation curve is important, and alloy widens the curve. Too much alloy in the steel won’t transform fast enough to achieve the hamon pattern you want.”
Tomberlin added that low-alloy carbon steels yield the greatest success, and these include W2, W1, 1095 and 1075.
“The maker should look at the certifications for the steel to see the composition,” he recommended. “You want a steel low in manganese, as manganese promotes deep hardening instead of shallow hardening, which we want. We want the transformation of austenite to martensite to be fast upon quenching in order to achieve a hamon, and shallow hardening steels are what is needed. Can you achieve hamons with other steels? Yes, in some cases where the manganese is lower, but they usually do not have the activity or effects you would like to see. My go-to steel is W2.”
Creating A Hamon
Ashi, which Brion Tomberlin describes as “wispy cloud-like formations hanging down from the main line [of the hamon], are nice and show control.” Eliott Robinson provides ashi in ample supply on the 5-inch blade of his fighter. Blade material: U10A carbon steel. (SharpByCoop image)
After the heat treating and hardening process develops the desired hamon, bringing out the robust visual aesthetic is a process in itself that, according to Carrillo, varies from bladesmith to bladesmith.
“All makers have different ways of polishing out their hamon, and these methods evolve over time or to suit a particular project or aesthetic need,” he observed. “My technique has evolved over time but works for 90 percent of the work I do, and is a good way to practice bringing out all the activity you want to see in the steel.”
For his technique, Carrillo grinds the blade to 220 grit; polishes it to 800 grit using a hard backer for the sandpaper; cleans the blade completely using acetone, dish soap or rottenstone while making sure water does not bead up on it; etches it in ferric chloride; removes oxides completely using fine grit sandpaper; assembles; and then oils.
Quesenberry follows a similar protocol.
“I have a blade in front of me and I’m going to a hammer-in this weekend. I will take it up to 800-grit finish and dip it in ferric chloride,” he said, “and then I’ll wait until it turns black depending on the strength of the ferric. Once it’s black I neutralize it with Windex and then pull with a gray 3M polishing cloth in nice, even and straight lines, removing the black to get the white for the ashi to pop.”
Faux Hamons
Emiliano Carrillo outfitted the blade of his K-Tip Gyuto with a clayed hamon. The handle is bird’s-eye maple, as is the saya (sheath), which includes a black walnut liner and a bamboo menugi (ornament) to keep the blade in place. (SharpByCoop image)
To dispel one common question, bladesmiths confirm that all knives do not have hamons. As Carrillo says, “There may be areas of decarb on the blade that may be mistaken for a hamon, but it is only surface level.”
At the same time, some factory-produced blades may have a fake hamon etched onto the blade to make the piece more attractive to the potential buyer.
“If a hamon has been etched on, a perfectly clean line is generally seen,” he added. “It doesn’t have any of the cloudiness or desired fuzziness seen in the line on a real hamon. The fake ones are generally very white and too regular to be a metallurgical effect.”
The blades even of smaller knives such as folders and hunters provide a solid canvas for a hamon, as Kyle Hanson demonstrates here on his no-nonsense hunting knife. (SharpByCoop image)
Tomberlin has seen a false hamon from time to time and says the technique to achieve one is quite different from the genuine article.
“This is usually done by selective etching or different polishing techniques,” he advised. “It is hard to explain how to tell, but if you see one versus a true hamon it stands out immediately, usually as too regular with no effects at all. Also, there is usually a very sharp demarcation line from highly polished to etched, and this is especially prevalent in some pieces from overseas.”
What Makes A Good And Bad Hamon
Separating the good hamon from the bad hamon may require practice. In some cases the differences are obvious but in others, they are more subtle. The professionals have seen it all.
“The biggest issues of a poorly done hamon are things like fading away in some areas or, yes, going off the edge of the blade,” Tomberlin related. “If the hamon fades off the edge that means your edge is not hard in that area, which is not good. The main causes of this are clay coating being too thick and improper heating of the blade when bringing it up to quench temperature. The main issue I have seen is the hamon going off the edge. As long as you have the edge hard you have a hamon.
According to Emiliano Carrillo, a hamon should be high enough that the knife can support a lifetime of sharpening and removal of edge material without biting into the soft material above it. Will Newham achieved such a hamon on his Best Chef’s Knife winner from the 2023 Sydney Knife Show. (SharpByCoop image)
“Poorly done polishing will show up also. A well done hamon takes time both before and after quenching. Trying to cut corners on polishing will definitely show. As for a lack of activity in the hamon, such as being straight instead of having hills and valleys, someone told me a number of years ago that one of the hardest things to do well is a simple straight hamon called a suguha.”
Schwarzer sees crispness in the boundaries of a good hamon and acknowledges that heat treating and polishing techniques are critical in bringing that out.
“In the early ABS [American Bladesmith Society] we used an edge quench to get a hamon, and that is the mainstay of the ABS today,” he said. “In testing now you rarely see a hamon because you don’t see as much polishing as necessary to get you through the test. You can’t bring it out with a buffer. It’s almost like a metallurgical polish so you can see the grain in the steel.”
The well done hamon represents an art form in itself, and Quesenberry is impressed with the current wave of artistic impression.
ABS apprentice smith Aidan Garrity outfits the hamon of the 10.5-inch blade of his V-44 repro with hints of ashi. Blade material: W2 tool steel. Handle: carbon fiber. Overall length: 15.5 inches. (SharpByCoop image)
“People have ‘Americanized’ it I guess you could say, and I can do a decent hamon. But some guys out there have absolutely nailed it,” he smiled. “They can paint pictures with theirs using the clay and the heat treating process. You have to be careful not to over-refine the steel grain structure, especially in W2 shallow hardening steel, or you won’t get good results. There is a dance to it.”
The perfection of the hamon process, start to finish, steel and clay, temperature to quench and harden, has fascinated the bladesmith and the admirer of the finished product for centuries. Looking down the road, the possibilities are infinite.
Yet being aware of the good versus the inferior product adds even further to real appreciation of the process.
Kevin Casey feathers his cap with an outstanding array of custom throwback blades.
Kevin Casey may have hit on a great idea for knives with both a custom touch and an antique look and feel.
Taking some old yet inexpensive late 19th/early 20th-century dinner knives with mother-of-pearl handles and silver ferrules, he replaced the original blades with those forged of assorted patterns of his feather damascus. The result, the Little Feathers, went fast at the Solvang Show, with two selling individually and five going to one shrewd buyer.
Kevin Casey
Kevin said similar versions of the original antique knives are available on eBay, Etsy, at jewelry stores, flea markets and the like. He cleaned the insides of the ferrules with acetone before epoxying his damascus blades into them. He cleaned the ferrules with Flitz and a toothbrush, polished the handles and the knives basically were ready to go. He plans to do more like them in the future.
Little Feathers Specs Maker: Kevin Casey Model type: Dinner knives Blade lengths: 2.5 to 4.25” Blade material: Assorted patterns of feather damascus in 1080 carbon and 15N20 nickel-alloy steels w/a thin layer of pure nickel; depending on the pattern, the layer count ranges anywhere from 50 to 500 Handle material: Mother-of-pearl Ferrules: Silver Overall lengths: 6.5 to 8” Maker’s list price range for similar knives: $600 to $900 each
