Knifemaking Archives

Shop Dump: Kirby Lambert, Mike Quesenberry, And Rick Eaton

Knifemaking

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December 20, 2022

Three Knifemakers Take Us Into Their Shop To Show Us Their Process And How They Forge Steel Into Beautiful Blades.

How serious was Kirby Lambert about buying the necessary equipment to become a custom knifemaker?

“I dropped out of school at the University of Calgary to start my knifemaking career,” he began. “In order to purchase machinery, tools, and equipment I had to sell off the one thing I had that was worth any money—my 1969 440 Dodge Charger.

“My milling/drilling machine was one of the very first pieces of equipment I purchased at the beginning of my knifemaking career. It’s a Force International that was made for House of Tools, which is no longer in existence. I purchased it around 2002, and every knife I’ve made since that time has either been drilled and/or milled on it.

“Some of the most important and most-used pieces of machinery I have are my belt grinders,” Kirby continued. “My favorite is the TW-90 [the one with the yellow belt illustrated in one of the accompanying pictures]. Not only is it one of the most versatile grinders on the market, it’s also designed and made by my good friend, Travis Wuertz. This grinder does it all and then some. Not only do I use it for grinding bevels and the like, it comes with small wheel attachments and an incredible surface-grinding attachment, which is perfect when having limited shop space.”

Kirby bought his other TW-90 grinder from KMG many years ago and uses it often to this day.

lambert knife — One of the latest flipper folders from Kirby Lambert is the Raine in Damacore stainless damascus by Damasteel, a carboquartz handle, and Zircuti bolsters and clip. (SharpByCoop knife image)

“Another must-have tool for any folder maker is a tapping head,” he observed. “It allows you to tap and thread holes quickly and easily. I purchased the one I use from KBC Tool in the early 2000s. It’s mounted to a drill press that has some sentimental value. I got it from knifemaker Bill Schiller, who helped me out a lot when I was first getting started in the early 1990s. Sadly, Bill passed away in 2017.”

Lambert extolled the virtues of a good buffer for fine surface finishing.

“Another of the first tools I purchased that I still regularly use is my buffing unit. I bought it from Bill Schiller as well,” Kirby recalled. “He had done some modifications to it by machining heavier shafts/arbors. With a number of different wheels, buffers and compounds, I use this machine to achieve a variety of finishes on knife blades and parts.”

Kirby’s heat-treating oven is key for preparing the steel that goes into his blades—and it holds sentimental value as well.

“My Paragon oven was given to me by my dear friend and mentor, Brian Lyttle. I worked with Brian for a few years in his shop in Alberta before moving back to Saskatchewan to set up my own shop. If it weren’t for Brian, I would not be where I am today. He passed away in 2016,” Kirby lamented. “No matter how fancy the steel or materials, a knife doesn’t become a knife until it’s properly heat treated. It’s the most crucial step in knifemaking and is the moment the knife gets its soul.”

Mike Quesenberry

Quesenberry belt sander — Mike made his 9-inch disc sander from sourced components—a 1-horsepower, 3-phase Leeson motor paired with the KBAC-24D VFD and a 9-inch flat steel disc.

A knifemaker since 2005, Mike Quesenberry received his ABS journeyman smith stamp at the 2009 BLADE Show. At the 2014 BLADE Show he earned his ABS master smith stamp and the coveted B.R. Hughes Award for the show’s best knife submitted by a master smith applicant. In a nutshell, Mike makes top-shelf stuff and has the shop to do it.

“A good grinder is essential for the knifemaker and the TW-90 is a great one,” he opined. “Travis Wuertz was the innovator with this style of grinder and has had countless copycats. It’s made with the best materials, motors and VFDs [variable frequency drives] on the market.

“The one invaluable accessory is the surface-grinding attachment. As knifemakers we are in constant need of making things flat, and this does it quickly and efficiently. I own two of these machines. The first one was out of the initial batch back in 2010 and is still going strong today. I can’t say enough positive things about the TW-90.

“If you’re looking to cut down on your hand-sanding time, the 9-inch disk sander is the answer. I made mine from sourced components—a 1-horsepower, 3-phase Leeson motor paired with the KBAC-24D VFD and a 9-inch flat steel disc. The stand is fully adjustable and the addition of the task lighting makes seeing a uniform scratch pattern a breeze. I use repositionable adhesive for the 9×11 sandpaper sheets and for the quarter-inch rubber backing, available from K&G supply. The bare steel disk gives crisp flats and the rubber backing allows higher-grit finishes and bevels blended to a zero edge.”

Keeping everything organized is key, and Mike considers his workbench the most valuable asset in the shop.

quesenberry knife — Mike Quesenberry forged this damascus double-lugged full integral with a tapered tang. The shaped blackwood scales are left proud and secured with domed Argentium pins. (Caleb Royer knife image)

“The efficiency and organization behind it save me countless hours. My wife, Antoinette, was a huge help in the construction of this bench. Without her it would have never looked this nice,” he noted. “The two side stands are made from Craftsman toolboxes with different drawer configurations. They sit on 2×6 frames, giving rigidity to the structure, but, most importantly, the screw or pin that falls off the bench has nowhere to go. I have found that a paper cutter is the most efficient way of processing strips of sandpaper, and I go through a lot of it. The granite surface plate with 120-grit paper is great for finishing flats.

“The most used part of my bench is the vise. It’s a small one—3-to-4 inches is ideal—and perfect for holding knife-sized work. The stand is built from 21/2- and 3-inch square tubing. It allows the vise to move in and out and up and down. Versatility is the key, allowing you to sit or stand and be comfortable no matter if you’re hand sanding or doing detailed filework. Hours spent at a workstation that is not ergonomic can be hard on the body. Take the time and build a friendly work environment—your body and productivity will thank you.”

Rick Eaton

engraving vise — A GRS engraving instructor since 2005, Rick has an engraving office desk station that includes a GRS GraverMach with Magnum and 901 Monarch handpieces, plus an 860 high-speed rotary handpiece.

Knifemaker Rick Eaton forges the blades for his exquisite art knives, so a dependable hydraulic press is a must.

“For forging damascus I use a Carlisle Imagination Xpress 25-ton hydraulic press made by Jeff Carlisle of Simms, Montana,” Rick stated, adding he doesn’t know if Carlisle still makes the presses or not. “I got this one in 1999 after starting to learn how to forge damascus from Shane Taylor and Steve Schwarzer at Shane’s family ranch. This press has given me 23 years of use with zero problems and I’ve made a whole lot of damascus with it. It has a two-stage pump so the hydraulics work fast. If you have one machine for forging damascus, this one is great. Dies are easy to make and changing them is fast when going to different operations.”

For cooking his steel, Eaton made his own heat-treating oven.

“It’s has a 20-inch outside diameter and about an 18-inch vertical interior diameter. It’s propane fired with forced air using a blower. I received guidance from Shane and Steve on how to build it back in 1999. It has castable refractory cement in the bottom with Kaowool insulated sides covered in more refractory cement. I’ve relined it multiple times—it’s about due for another one. It works great for large cans or stacks [of steel].”

One of Rick’s specialties is the interframe folder, which requires an extraordinary degree of precision to execute. For reducing and transferring his designs he relies on his pantograph.

Eaton knife — The Roman Gold folder by Rick Eaton features a Roman-style mosaic damascus blade. The 18k-rose-gold-slab handle is full-relief carved and engraved with two scenes in the bulino style. (Eric Eggly/PointSeven knife image)

“I use a Gorton P2-3 pantograph, made about 1972, that I’ve owned since 1994. I do all my interframes and side-locks using it,” Rick noted. “The one issue with this pantograph is it only goes down to a 2:1 ratio, so my final templates are made at this size. For doing interframes I hand make a 4:1 template, then use this one to make a 2:1 template to cut the handle. This machine gives me the ability to remake an interframe pattern accurately and quickly. Any of my knives that are numbered were done with this, even though my high-end art models are not copied—they are all one-offs.”

Like Kirby Lambert and Mike Quesenberry before him, Rick is a big fan of the TW-90 belt grinder.

“For many of my grinding chores I use a Travis Wuertz TW-90 vertical/horizontal grinder with a 2-horsepower variable 220 motor. I can do just about anything with this grinder,” he commented. “It tracks real well and I love all the different attachments that you can get with it. It’s a top-of-the-line grinder.”

Rick not only does all the engraving on his art knives. He’s been a GRS engraving instructor since 2005.

“I have an engraving office desk station with a GRS GraverMach with Magnum and 901 Monarch handpieces, plus an 860 high-speed rotary handpiece. It has the GRS positioning vise on top of the satellite stand,” he stated. “I also use the Acrobat stand Leica A60 variable microscope, and for keeping the tools sharp it has a GraverHone with Apex sharpening system, all hooked up to a large air compressor out in the shop area. This is GRS’s top-of-the-line setup.”

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Instagram: Social Media’s Knife Leader

Mike Haskew

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December 15, 2022

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Knifemakers Continue To Evolve Their Use Of Social Media Platforms To Promote Their Work And Expand Their Customer Base.

It’s been around a while now—long enough for an update on its relevance and impact on the knife industry. Meanwhile, social media in some ways remains a new frontier for both knifemakers and the market.

It isn’t unusual for those interested in buying an existing knife or commissioning one from a pro to use social media such as Instagram, Facebook, and other windows into the lives and work of custom makers. The media provide outreach and information on an unprecedented scale, and custom makers who take advantage of the opportunity to put themselves in front of the buying public take different approaches.

Some use video, others still photos. Some use music, others narration of what the viewer is seeing. Some allow the hum and whir of machines or the ring of the hammer to set the tone and convey the message. The answers to the questions of where and how to apply social media in their work lives vary among makers, but the involvement of social media in their marketing and sales efforts has become a regular part of their routine.

“Instagram broadens the customer base, and if you aren’t using it you are missing out on that client base,” related knifemaker/5th Special Forces veteran/BLADE® field editor Kim Breed (@kimbreed1911 on Instagram). “I was dead set against it, but my son Keith got me going and said that it was something I needed to do. You can target your audience with a hashtag, and then when someone searches for something in particular it will come up.”

Kim likes to use music as a backdrop for his videos and especially enjoys the rock band AC/DC (the band’s song “Thunderstruck” is among Kim’s favorites). Of course, there are other musical selections, and he ties the tune into what is happening on his Instagram and Reels posts.

“When I’m doing hand hammering or power hammering, I love AC/DC,” he smiled, “and sometimes I’ll use dramatic songs when I’m etching, or whatever. Instagram is easy. I can do it on my phone and post it in five minutes, and I’m sure you can do the same thing with Facebook.”

Since the social media surge, Kim has found that how-to video posts are more popular than pictures of knives alone. He also advocates frequent posting of relevant work in progress.

“I try to post something at least once a day,” he remarked, “and it may be something like etching damascus steel. I get good hits and feedback on that and anytime I post videos working with a milling machine or grinder so people can actually see me building a knife.”

Schroeder gyuto — Isaiah Schroeder, whose forged gyuto was featured on page 82 of the October BLADE®, uses both Instagram and Facebook and publishes an email newsletter around once a month with his latest knives and prices. That way, everyone signed up for the newsletter gets it at the same time and has an equal chance to get one of his new knives. (SharpByCoop image)

Isaiah Schroeder uses both Instagram and Facebook with the handle @schroederknifeworks and has found a much wider audience than might otherwise have become familiar with his work. He is regularly in front of his followers with updates and information.

“I started doing my email newsletter [www.schroederknifeworks.com/newsletter] several years ago,” he commented, “mostly so that I don’t have to be completely dependent on Instagram’s algorithm to show my customers when my new work is available. With this newsletter, everybody who is signed up for it gets it at the same time and has an equal chance to get one of the knives. I do the whole thing myself using a service called Mailchimp, which just makes it easier to keep the list and format the content. My goal is to have one batch of knives per month and one newsletter per month.”

Schroeder uses Instagram primarily but cross-posts to Facebook when preparing social media input. He sees Instagram as a way to reach more people, and a gallery of his work conveys the quality of his knives and materials he uses. Recently, he has seen short videos take hold and is using these to reveal his shop work. The result has been dramatic.

“Instagram has been great for my business,” he smiled. “I’ve sold knives around the world because of it. I focus on cooking knives, and there is a large foodie presence on Instagram so that meshes well with my content.”

Isaiah also appreciates the free flow of information afforded by social media, everything from the knifemaking process to presentation to pricing. The volume of information at the fingertips of the viewer is incredible, and knowledge is buying power.

“I’m not too shy about posting my prices for the public to see,” he reasoned. “I’ve always wondered why some makers won’t post prices. It’s something people always ask about, so they clearly want to know. I’d rather make it known. Then people can have time to decide whether they think it’s worth it for them or not. I guess it might be different if I were selling through a retailer or making custom orders.”

Knifemakers Grow Their Brand

For his custom knives, Mike Vagnino indicated posting work in progress seems to get the best response and exposure regardless of whether they are still shots or videos. (Vagnino image)

Just getting a custom knife enterprise off the ground from a marketing perspective can be a huge challenge, and when custom knifemaker Mike Vagnino and business partner Patrick Ma kicked off Terrain 365, they immediately began looking for ways to raise their new company’s profile.

“Our primary source for promoting the business is social media, which has worked very well for us,” Mike explained. “Our goal, of course, is to sell knives by making people aware of our brand and drawing them to our website. Patrick handles our social media for Terrain 365, and the key seems to be posting often and consistently.”

While Mike emphasizes he is no social media expert, he acknowledges social media’s inclusion in a sales-and-marketing strategy will pay dividends.

“I use Instagram and Facebook primarily to promote my custom knives and any new projects I’m working on, not necessarily to generate immediate sales, but to keep my name out there. For my custom knives, posting work in process seems to get the best response and exposure regardless of whether they are still shots or videos. I choose not to speak during the video because I think what I’m showing is explanation enough—not because I think it’s more intriguing—although that may be the effect. Actually, I think telling a story might help if it’s interesting enough, but keeping the video short to match the people’s attention span nowadays is what I keep in mind.”

In promoting Terrain 365, Mike and Patrick have found that outdoor photos of the knives in action work best. Since their company is geared toward everyday carry knives and those that are ideal for use in the outdoor environment, their knives are constructed in rust-proof, non-magnetic materials. Take a look at Mike on Instagram @michaelvagnino.

Making First Impressions

David Lisch says Instagram may be the place many knife consumers see a maker’s work for the first time, so everything the maker posts should be first rate.

ABS master smith David Lisch issues both an endorsement and a warning when it comes to his use of social media.

“I have found that social media is both a blessing and a curse,” he observed. “It has been a struggle for me to find a balance. If you let it, social media can eat up so much of your time, time you could spend creating, making, and being in life. It is important to find the balance.”

Indeed, every opportunity carries a requirement for thorough evaluation and an awareness of the unintended consequences.

“I have focused my social media on Instagram primarily,” David added. “It is where I share my knowledge and sell my knives and meet my students. I have taken time to figure out what works for me and how to present myself. It might not seem like it at times, but I take Instagram very seriously.”

For those makers beginning to consider social media as an enhancement to their overall livelihood, Lisch provides a voice of experience and makes a few sound recommendations.

“My advice for knifemakers new to Instagram is to treat your feed like a portfolio page. This is the place people will see your work, maybe for the first time. It is your first chance to make an impression on a potential collector. Go in and clean up your feed on occasion and remove any stupid stuff.

“Keep it engaging,” Lisch continued. “Show work in progress as well as finished work. Use your storyline to keep folks up to date with what you are working on, or what is happening on a lighter side. Because your storyline is only up for 24 hours, it is self-cleaning. It is a great opportunity to have fun and connect with the folks interested in your life. Be yourself; do not try too hard to create content that is not you. Use hashtags and try different ones. Post to Reels, and if they are good they may go viral. As your audience grows, remember you are also a role model. If you are working, wear your safety gear. Be real.”

David can be found on https://www.instagram.com/davidlisch/. Click “Highlights” on his Instagram home page for his free video classes.

The social media phenomenon is sure to stay with makers into the future, and participating in the most effective ways will produce the desired benefits for them and their customers. True enough, getting involved may be a bit intimidating, but taking the plunge is becoming more of a necessity every day.

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Shop Dump: Tom Krein, Jerry Moen, And Ben Breda

Mike Haskew

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December 14, 2022

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Acclaimed Makers Tom Krein, Jerry Moen, And Ben Breda Take Us Into Their Workshops And Show Us How They Turn Steel Into Knives.

For Tom Krein, making the shop comfortable is a big step in being productive and efficient.

“While it might not be quite what you expect, I consider things like a restroom, central heat and air, and a full kitchen as things that keep me at the shop and productive,” he commented. “I’m often here 12-to-15 hours a day, and having these available makes me comfortable and able to work longer. While it’s probably not something that would immediately come to mind, I consider this setup one of my most useful tools.”

Since Tom’s shop is not at his home, these add-ons make a difference in time and travel. No doubt, the ability to work and then take a quick break improves the quality of his finished knives as well.

When hard at work, Tom utilizes several key pieces of equipment. A variable speed mini mill from Little Machine Shop is a workhorse.

haas cnc machine — Tom does his CNC work on his HAAS Super Mini Mill.

“I have two of these that are very similar,” he said. “I’ve used these to build many folders. They take a lot more time than a floor model Bridgeport, but they can get the work done. Now that I have the HAAS CNC, I mostly use these for precision drilling, deburring and counterboring.”

While working for long-time custom maker Bob Dozier in 1998, Tom bought a grinder from his employer.

“I actually got paid to put it together,” he smiled. “I grind on it day in and day out. It wasn’t cheap when I purchased it, but it has never let me down. I’ve literally ground thousands of blades on it.”

Dozier was also influential on another of Tom’s most important shop tools.

“Bob helped me build a variable speed buffer in 1998, too,” Tom said. “This is another machine that I use on every single knife multiple times. I don’t know how I would make knives without it. It is currently set up with a ¼-inch cardboard wheel on the left-hand side for sharpening and a deburring wheel on the right-hand side.”

Krein knife — Tom Krein gravitates more toward making folders these days, such as his Alpha model. (Whetstone Studio knife image)

Tom has been making custom knives for nearly 30 years, and he is gravitating more toward folders now due to a touch of arthritis in his hands, but continues to make some fixed blades. His signature materials are D2 tool steel—a preference he gleaned from Dozier—and NitroV stainless steel as well. He uses a lot of G-10 and Micarta® for handles along with stabilized koa, stag and mammoth.

Jerry Moen

The day-to-day grind in the custom knifemaker’s shop is typically only as productive as the maker’s tools will allow. Skill, investment of time, and precision in the finished product are heavily influenced by the function and quality of the tools, and what the available equipment will allow.

For veteran knifemaker Jerry Moen, his best offerings from the shop are homegrown to a great extent. After selling a large number of shop tools and pieces of equipment to custom knifemaker and friend Todd Begg a few years ago, he regularly employs his own creations from Moen Tooling.

Moen fixture — The Moen Blade Grinding Fixture includes carbide file guide blade clamps, a rugged anodized coating, friction-free nylon gliding surface, dual handles and adjustable blade standoffs. Jerry demonstrates it here in conjunction with the Turbo Grind Evo3 at BLADE Show Texas 2022.

“I use the basic stuff in my shop when I’m making a knife,” Jerry began, “so there really isn’t anything special about those things. But the platen from Moen Tooling has been a game changer for many makers who have ordered it so far. I can’t thank Princeton Wong enough for his contribution to Moen Tooling, either. Princeton is a brilliant young engineer, and I first realized his talent at the Fort Worth Show when he won best new maker.”

The platen indexes the knife blade and virtually eliminates the problems with belt bumps and heat that go along with other such products. The result is better symmetry and a smoother grind. The grinding process is also cooler, allowing the maker to use finer belts and minimize the bump.

“I’m a user of all the grinding fixtures Jerry has produced,” commented custom maker Tom Overeynder. “Using the new platen and grinding fixtures will greatly jump start new makers as well as old timers in accomplishing more accurate grinds. The user can hog off stock and can do the most delicate jobs. Overall, I love it and highly recommend it to anyone interested in doing top drawer workmanship.”

Moen pairs his platen with two other indispensable pieces of shop equipment. The first is his functional Outlaw grinder, and he believes it is adequate for the jobs at hand. However, he is close to a deal with AmeriBrade to promote its products.

He has also developed the Moen Blade Grinding Fixture, which includes carbide file guide blade clamps, a rugged anodized coating, friction-free nylon gliding surface, dual handles and adjustable blade standoffs. The dovetailed clamps help with transitions and the fixture is well-suited for flat, hollow or small-wheel grinding.

“This fixture takes all the guesswork out of it,” Moen noted. “It’s all indexed perfectly, and you can set angles where you need them. It holds the blade and sets the bevel you put on it, and you can flip it from one side to the other and take it to a 1200-grit finish in 30 minutes.”

Jerry sold Princeton 25 percent of Moen Tooling some time ago, and the two have made an impressive team.

Jerry Moen knife — Jerry Moen makes fine folders such as this one in a lightning-strike carbon fiber handle and is founder of Moen Tooling. (Eric Eggly/PointSeven knife image)

“He can do CAD and has helped with the design on some of our new stuff,” Moen added. “I might be the one with imagination but I depend on the best people I can find for what I’m short at.”

Custom maker Bob Ohlemann has put the Moen platen and fixture system to work as well.

“These days, I spend about as much time teaching knifemaking as I do making my own knives,” Bob remarked. “Most of my ‘dress tactical linerlock’ students are established makers looking to expand their skill set and offer new products to their customers. One of the most important techniques students look to learn in my classes is how to create high-precision bevel grinds with beautiful sweeping plunges and reduce their time hand finishing blades. This is where the Moen Tools platen and fixture system excel.”

Ben Breda

American Bladesmith Society Journeyman Smith Ben Breda tackles the forging of custom knives with an array of proven shop tools and equipment.

He has been forging knives for 10 years and has been full time for six of those, specializing in chef’s knives, hunters , bowies and fighters. He uses premium handle materials such as wood burls, stag and ivory. When fully engaged making knives, Ben has John Perry handle broaches nearby.

“These are a must for properly fitting hidden-tang handles,” he explained. “They are very well built and make fitting handles effortless.”

Ben said his John Perry handle broaches are a must for properly fitting hidden-tang handles.

Ben’s variable-speed-head Bridgeport milling machine is in continual use, and for good reason.

“This machine allows the maker to fit guards quickly and accurately, which is a must in any knife shop,” he commented. “This machine was a Craigslist find and similar machines often come up for sale. They are pretty easy to find.”

Pounding away at a piece of steel is part of the process for Ben, and he depends on a 50-pound Little Giant Power Hammer to get the job done.

Ben Bread Bowie — Ben Breda counts such majestic bowies as this one among his specialties.

“With this old mechanical hammer, the maker can break down large steel stock and damascus billets and forge blades with ease,” Ben noted. “I bought this hammer from a retired knifemaker and had it shipped to my shop.”

Ben identifies the Wuertz TW90 belt grinder as another of the most important tools in his shop.

“Blades can be ground to very precise dimensions with this,” he related, “as well as hardware shaping and, of course, sculpting knife handles. The machine can be used at slow speeds for wood and high speeds for grinding steel away fast. It comes with several attachments as well as a horizontal option, making it a very versatile machine. These grinders can be bought directly from the Wuertz machine company.”

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Micarta: A Do-Everything Handle Material

Josh Wayner

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December 7, 2022

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Micarta Is One Of Many Materials Used For Blade Handles. Used For More Than A Century, Micarta Continues To Be Incredibly Popular.

Micarta is not a new material, in fact, it has been used for over 100 years. Unlike naturally-occurring materials, Micarta offers properties other materials don’t. We’re going take a look at what Micarta is and what makes it probably the best material available for making knife handles today.

What Is Micarta?

Micarta is the name of a commercially-owned product, and isn’t just a generic material. Micarta is a durable type of composite made of a base material suspended in epoxy resin. Norplex Inc. owns the trademark on the term.

The material is compressed under heat and is classified as a thermoset product. The main name associated with the invention of Micarta is George Westinghouse. During his life, Westinghouse never stopped creating new things, and the first developments of what we know now as Micarta occurred somewhere between 1900 and 1910.

Because of the way that Micarta is made, it has extensive applications for insulation in electrical systems. It is unknown when this material became a popular knife handle option, but it is safe to say it’s never been more popular than today. Like many materials of the era, such as Bakelite and Celluloid, Micarta found its way into craft use.

How Is Micarta Made?

It’s hard to pin down Micarta. In the old days, fabric and paper were used as the base material, but today we have a wide variety of other types that exist, including carbon fiber and glass. Knife handles are actually a fairly narrow category of end-use for Micarta.

The process by which Micarta is made is relatively simple. Materials are soaked in whatever type of thermoset is going to be used, and, once impregnated by the resin, it is subjected to intense heat and pressure which causes a sheet to be formed. Decades ago, Micarta was also made in large blocks.

These large blocks are a favorite for revolver grips and other large, three-dimensional forms. There are people that shop garage sales and estate auctions looking for fixtures or items made using these older types of Micarta. The most prized is a type of paper Micarta that is about the closest thing to elephant ivory in terms of texture and color that grip makers can get.

Who Uses Micarta?

Mini knife makers that work with the material end up ordering large quantities to their specifications. Smaller companies tend to work with what is available through existing supply chains, which is a large reason why you end up seeing very similar colors across the board.

It is possible to get Micarta in custom colors and textures, though you may have to spend thousands to get it. If you find that you are looking to put a nice handle on a knife, it is a good idea to call around and see if any companies have scrap that they are willing to sell.

Micarta Vs. G-10

True Micarta is not the same thing as G-10 or other types of thermoset laminates. Many people tend to use the terms interchangeably, but in a strict manner of speaking, true Micarta will be made using paper, burlap, canvas, or linen set in resin. G-10 is different in that uses glass cloth, a type of material made from carbon fiber filaments.

Micarta is usually heavier than G-10 and carbon fiber laminates, but, in terms of knife handles, the difference is negligible and is not too far apart from the weight of standard hardwoods. Bakelite, while common on a tremendous number of products and weapons, isn’t the same type of material as Micarta even though it occupied many of the same roles.

Comparing Micarta To Other Handle Materials

As Micarta has become more popular, more companies have offered it as an option, but sometimes incorrectly. A true Micarta material is not quite as durable as G-10, but it is going to hold up better than wood or leather. G-10 is an essentially absorption-proof material. Most handle materials out there, Micarta included, will absorb a degree of water, sweat, or blood.

Though it is unlikely to permanently stay in the material, it is recommended you keep Micarta clean. Usually, hot soap and water does the trick, and, while you can get oil on it, expect it to stain a bit. This has to do with the fact that the materials in Micarta are either paper or fabric, and many of these materials are exposed, though fully impregnated by resin.

Wood handles are subject to small problems, and if installed incorrectly, they can split or crack quite easily. Wooden handles are not especially great for heavy outdoor tasks, such as chopping or batoning. Wood also has the problem of absorbing ambient moisture. In especially humid environments, handles can swell and crack on the pins. Micarta has no grain in the way that wood does, although it is typically applied to knives along its length.

When comparing Micarta to carbon fiber it comes down to durability and weight savings. Carbon fiber is not an especially durable material, though it is very lightweight. As far as knife handles go, carbon fiber is excellent for inlays and panels, though it is not as good of a material for making full scales. When compared directly to Micarta or G-10, carbon fiber is harder to shape and is more difficult to apply a working textured finish.

Best Knives With Micarta Handles

Linen and canvas Micarta is my hands-down favorite material for knife handles. The reason I find these types of Micarta the best is that they provide the greatest degree of function in the hardest environments. I like G-10, but I have found it too slippery across the board when covered in blood and fat out hunting and it becomes ice cold to the touch very quickly. While it is a very durable material, it feels much more like plastic than Micarta and, for lack of a better way of saying it, never develops the character like wood, leather, or Micarta.

Linen or canvas Micarta offers the texture I want on a grip across the board, and I have put several products through an insane amount of daily use without any negative effects. Each of these knives I list here I have used for months or years, and I can strongly recommend them.

Winkler Utility Knife

The utility knife was the first Winkler I ever owned, and it is still a constant companion. I have used this knife extensively for everything from opening paint cans and cutting heavy-duty straps to prying apart pallets and even building out countertops and interior demolition.

I have logged hundreds of hours with this knife in hand and it has been extremely comfortable the entire time. The green Micarta handle has held up extremely well, though it now has some gouges from use. It is not on the cheap side, retailing at $450, but it has been worth every penny.

Case/Winkler No.6

A collaborative project between Case Knives and Winkler, the recurve utility No.6 is a heavy-duty knife built for some of the hardest projects. I have taken this knife with me out to the field and have also lent it out as a skinning knife for deer hunting.

Due to its deep, recurve belly it is exceptional for chopping tasks and is just as good in the kitchen as it is blasting through small limbs. While no longer available on the Case website, my version has a tan canvas Micarta grip and it has held up exceptionally well. While it’s not contoured exactly to my hand as I have experienced with knives direct from Winkler, it feels good in its own right and will provide a lifetime of use. The MSRP is $430.

White River Knife And Tool FC7

An extremely attractive, large knife, the FC7 is my go-to hunting knife for deer. While it may seem like a large knife, my experience in the field has taught me that it is probably the best big-game knife money can buy today. It is gorgeous to look at and the orange liners on the green Micarta definitely add to it. I see no reason why I will not continue to get years and years of use out of this product. The MSRP on the FC7 is $330.

White River Knife And Tool Exodus 4

The Exodus 4 is the knife that I use in the kitchen every day for almost all tasks. It is probably the most washed knife on this list. It has been constantly exposed to soap, oil, and all other manner of kitchen materials. It makes an excellent carrot peeler using the square edge of the spine.

My version has black Micarta panels, and they have held up extremely well to the constant washing and use. This knife and its grip have arguably been exposed to more caustic materials across-the-board than any of the other products, it was even put through the dishwasher several times by accident. The Exodus 4 is easy to hold even while in the direst of kitchen nightmares. The MSRP is $175.

ESEE Camp Lore RB3

The knife itself had some shortcomings. The steel is sharp but requires maintenance, and it is not very resistant to blood. My original version of this knife has been discontinued, Esee has a dimensionally identical, but cosmetically different, version for sale now. The MSRP on that knife is $190.

I don’t remember what the Camp Lore version cost many years ago, but it has held up to my abuse. The grip panels are Micarta, and they have seen more than their fair share of punishment. The blade shape was less than ideal for working on four or five deer in a night, and I quickly learned my lesson and moved to a bigger knife. I will say that in the years that I used this knife, it was a good friend for the field, and I look forward to passing it on to my kids when they are older.

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D’Alton Holder Passes Away At The Age Of 82

Knifemaking

BLADE Staff

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November 28, 2022

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Acclaimed Knifemaker And Cutlery Hall Of Famer D’Alton Holder Passes Away At The Age Of 82.

D’Alton Holder, whose knifemaking career spanned almost 60 years, served decades on the Knifemakers’ Guild board of directors and enjoyed almost 20 years as a member of the BLADE Magazine Cutlery Hall Of Fame®, passed away Nov. 19.

Known simply as “D’,” Holder was a consummate maker of fixed-blade knives, especially hunters. Among the latter, his “My Knife” in a stacked handle of oosic and amber was probably his best-known model and one of the most recognizable knives of its time.

He made his first knife in 1966, selling mostly at gun shows until 1973 when he joined the Guild. He was elected as a Guild board director in 1976 and served on the board for 23 years, during which time he held every board position, including three terms as president. His leadership helped sustain the Guild through the early years of its existence.

Holder organized the Arizona Knifemakers Association in 1975 and was its president for five years. He received the Guild’s Red Watson Award in 1982 and the American Firearms Industry Award of Merit in 1983, the only knifemaker to receive the honor. He was presented the Beretta Award for knifemaking excellence in 1994. He also served three years as president of the Arizona Knife Collectors Club.

He was a charter member of the board of regents of the American Knife & Tool Institute. Holder also was one of the winners of the 1998 Blade Magazine Publisher’s Award for his efforts on behalf of the AKTI.

He taught dozens of knifemakers how to fashion knives and helped dozens of other makers become more accomplished at the craft.

D’ was a very close friend of Cutlery Hall-Of-Famer Buster Warenski. When not making knives the two spent much time hunting and fishing together. In fact, D’ lent a lot of support to Buster during the latter’s making of the King Tut Dagger reproduction, probably the most famous knife of the modern custom era. Despite many delays caused by production problems and other setbacks, Buster finally finished the monumental project, much to D’s delight. “With it, he stood head and shoulders above anything else that had been done,” D’ noted. “I think he did a better job than the original guys, the Egyptians!”

In his speech inducting Holder into the Cutlery Hall Of Fame at the BLADE® Magazine awards banquet of the 2003 BLADE Show, ABS master smith Tim Hancock, a long-time friend of the inductee’s, may have said it best.

“His knives embody his philosophy of art and his dedication to great work and business ethics,” Hancock said of D’. “He has no doubt made a friend of everyone he has sold a knife to.

“He also saw the need to shape the future of the industry that he loved. In his spare time, he has advised, helped, and counseled volumes of fellow knife enthusiasts, knife promoters, and budding knifemakers in their pursuits in this industry. To put it simply, those of us who know him personally would say that his most amazing trait is his unselfish devotion to helping others.”

Arrangements to recognize D’s passing were ongoing, though whether there will be any kind of memorial service for him was unclear as these words were being written.

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Shop Dump: Salem Straub & Andreas Kalani

Pat Covert

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November 23, 2022

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A Pair Of Gifted Knifemakers Show Off The Tools They Use To Turn Raw Steel Into Razor-Sharp Works Of Art.

Simply put, Salem Straub makes art and culinary knives of the highest order. He began forging in 2003 when a previous project introduced him to blacksmithing and, like so many knifemakers, once the bug bit there was no turning back.

Twenty years later Salem is at the top of his game and all his work is sole authorship. What’s more, he delighted many knife lovers by competing and winning in the second season of the History Channel’s popular reality show, Forged in Fire.

Award-winning bladesmith Salem Straub makes fine art folders, fixed blades and swords, and added culinary knives out of his passion for cooking.

Salem operates his custom cutlery business under the name Promethean Knives after a passage from noted British writer Zia Haider Rahman: “Is that not the Promethean fable, that the fire stolen from the gods will light men their way even while it burns their hands?”

Salem built his reputation for making fine art folders and fixed blades, including swords, but he added culinary knives out of his passion for cooking, which in turn led to his winning the Best Integral Award at the 2019 Damasteel Chef Invitational. His forging specialty is extremely fine patterned damascus.

Inside Salem Straub’s Shop

Salem leads off his list of top tools with his bandsaw.

“The Marvel Model 81 Hydraulic Vertical Bandsaw is the ideal saw for a dedicated pattern welder,” he begins. “It will easily handle all the normal operations that either a horizontal or vertical bandsaw can, but also affords the additional capability of ripping lengthwise with power feed, miter cuts, compound miter cuts and rips. Everything from the table vise to the saw feed and drive wheel is hydraulically powered, and a flood coolant system is integral to the design.”

Marvel vertical bandsaw — Straub’s Marvel Model 81 Hydraulic Vertical Bandsaw easily handles anything a horizontal or vertical bandsaw can, and affords the additional capability of ripping lengthwise with power feed, miter cuts, compound miter cuts and rips.

His lathe of choice is his Pratt & Whitney Model C Toolroom model.

“It’s a bit larger than might be strictly necessary for knifemaking,” Salem notes, “but affords the ability to create parts for repair of, or modification to, other machines. It’s also very smooth, accurate and convenient for making and threading small knife parts to close tolerances. The P&W ‘C’ lathes are among the truly legendary lathes from the heyday of American machine tool manufacturing.”

His Abrasive Machine Tool Model 3B Surface Grinder features an 8×24-inch capacity automatic table with a magnetic chuck, a 2×72-inch-belt modification by Salem, and a 3-horsepower motor.

“The table feeds are mechanically powered and relatively quiet and very reliable in operation,” he explains. “This machine is MVP in the shop, especially on many damascus production days. The belt modification allows for much faster removal of stock, making billet and tiling work much faster and more precise.

“Another piece of equipment I can’t do without is my Beaudry Champion #9 300-pound power hammer. I bought it from the late Larry Langdon, who gave me quite a deal as it needed lots of work to restore, and some difficult parts had to be made. After I took seven months to overhaul and install it, this hammer has become the cornerstone of my operations in making composite damascus billets and blades. The large flat die surfaces and excellent control make it ideal for forge welding, and it has plenty of power to forge large cross sections efficiently.”

Straub Knife — Straub’s chef’s knife sports a 9-inch blade of a stunning herringbone/mosaic composite damascus and a Japanese-style wa handle. (knife image by Abe Shaw of Eating Tools, Inc.)

Next up Straub extols the virtues of his rolling mill.

“My 10-horsepower rolling mill with 6×6-inch rollers is probably a tertiary forging machine for most hot shops to have—after a hammer and press—but it’s very handy indeed for cleanly drawing billets to bar stock, welding san-mai, and sizing pattern elements before tiling or four-way welds and the like. It was built to spec by a fab shop for my friend Mike Blue, whom I bought it from. I consider it a very good working design, and for production damascus it’s a huge help.”

Last but not least, Salem mentions his 1960s-era Deckel GK21 Pantograph.

“This is a machine quite unlike the others. Its use is quiet, contemplative, technical, and its mode of use is more artistic than one of brute force. The GK21 is a machine that pretty much defines its class—very smooth to operate and fascinating in its potential. I’ve been learning to use it for a few years and so far I’ve been mostly doing inlays for handle work, but I’m branching out into engraving designs onto handles with it, too. I look forward to decades of finding out new cool ways to use it.”

Andreas Kalani

Andreas Kalani spent 30 years in the corporate world, but once he discovered knifemaking he knew he’d found his calling. Now, nearly 10 years after leaving his former occupation, the Iranian-American is a full-fledged U.S. citizen grinding steel and making the knives of his dreams.

Kalani is an American Bladesmith Society apprentice smith currently working on his journeyman smith designation on the way to his ultimate goal of master smith. The versatile maker builds fixed blades—both mainstream and culinary—and folders.

Among those pieces are some top-shelf art knives. Meanwhile, he also makes a point of offering affordable fare for his customers. He markets his cutlery under the AK Custom Knives label and also instructs budding makers with a separate division called AK University. Needless to say, Andreas keeps himself busy with a full plate of cutlery interests.

Inside Andreas Kalani’s Shop

He leads off his knifemaking go-to equipment with a lightweight wonder.

“One of the most valuable tools in my shop is my Dremel 4000 Rotary Tool,” he reveals. “I use Dremel for engraving, polishing, sanding, cutting and much more. Dremel was my shop’s first official tool before I became a knifemaker. I used to make small and miniature swords and knives for my wire sculpture, and I could grind and shape the blades and handles with my Dremel tool. You can use various tips and bits for multiple uses such as carbide tips for steel and alloys or diamond tips for clay, woods and other materials. The possibilities are endless and you can be super creative with this tool; you can either mount it on the table, make a stand for it, or get an extra pen cable to do much more.”

Next on his list is his Evenheat Kiln.

Everheat Kiln — Andreas not only uses his Evenheat Kiln for heat treating his blades but also for lost-wax processing.

“It is generally used for the blade heat treatment to have better steel structure and accurate Rockwell hardness,” he states. “However, sometimes I use it for lost-wax processing as well. Before I got the kiln I had to send out all of my blades for professional heat treatment and it was time-consuming and costly, especially when I wanted to work on one custom project. Therefore, I had to get my own. With this kiln in the shop I can now heat treat various steels from high carbon to stainless, and know I have a good grain structure and a suitable heat treatment. An Evenheat kiln is one of the must-have tools for any knifemaker in the shop.”

According to Andreas, finishing tools play multiple roles in his operation.

“They are the most used on every project in my shop,” he observes. “From the finishing stones to G-10 sanding blocks, I use them for various sanding and polishing. Gesswein® EDM Blue Stones are made from premium aluminum oxide. EDM Blue is a more complex formulation of EDM stones specially designed to handle the high-speed back-and-forth motion of a profiler or ultrasonic machines, and are superior for polishing the most challenging scales. The stones are designed for use on hard surfaces at high speed and hold their shape very well.”

For the sanding blocks, Andreas created different G-10 paddles for such various uses as flat, concave or convex sanding.

“I add additional leather or plastic backing to each paddle to have more give on a harder surface when sanding,” he notes. “By combining these tools, I can achieve a beautiful finish on all of my blades.”

The Milwaukee Portable Bandsaw 6232-20 is another must-have machine in his shop.

“It’s precise when you want precision cuts or to create an intricate geometry—for example, when you want to make a guard for a knife, you can outline your guard on whatever [steel/alloy] you use and then quickly cut it to the shape. Afterward, you can go straight to the grinder to shape the final form,” he states. “You can purchase different types and styles of the blade for this machine to have a better cut and precision for other materials. It’s portable and I purchased a stand for it separately, which is made specifically for this machine by SWAG Off Road.”

Another invaluable tool in Kalani’s shop is the 25-gallon Sandblaster cabinet, which helps remove material, clean, and applies the final finish to blades.

Kalani knife — Kalani’s14.5-inch Lagertha Middle-East chef’s knife features a blade of 1095 carbon steel with an electro-pattern mirror polish. The Natural Galaxy handle is a combo of Middle Eastern turquoise and flowers. (SharpByCoop knife image)

“You can achieve different results on other materials using various media types from the walnut shell, glass bead, aluminum oxide, steel bead and so on,” Andreas explains. “There’s a learning curve and trial and error at the beginning. For example, if you want to sandblast titanium and be able to anodize it, you cannot blast it with aluminum oxide or steel media. The pressure will infuse the titanium and prevent it from anodizing. Based on my trial and error I found out that glass beads not only give a good matte surface to titanium but also keep it clean—and I am able to anodize it.”

He calls the 2×72 TW90 Grinder “the mother of all the machines in the shop.” It has a multi-position setup and various speeds, giving him limitless capability for different styles and types of grinding.

“I own at least five other attachments for this machine, including an 8-inch wheel, a 4-inch wheel, a modular switchable small wheel, a surface grinding attachment, plus flat and slack-belt platen,” Andreas observes. “One best modification I applied to it was adding an earth magnet on my work rest to use for different sizes and styles of work. It’s helpful for a different kind of grinding. For example, if you want to grind a sword, you need a more extensive work rest to run your blade over it, and this is super helpful.”

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Few Knives Have Been As Heavily Influenced By Japanese Methods As The Chef’s Knife. These Four Quality Blades Show Off The Modern Meeting The Historic.

The Japanese influence on custom knives is everpresent in the marketplace, and, aside from the tanto, nowhere is its flair and focus felt more than with chef’s knives.

These tools of the culinary trade are functional as much as they are eye-catching, especially in examples of some of the top makers in the genre today.

Honyaki Byuto Hybrid By Dmitriy Popov

Popov Gyuto hybrid — Dmitriy Popov aligned the tip with the spine on his wide-bevel Honyaki Gyuto Hybrid for enhanced control during jobs requiring precise use of the tip. (SharpByCoop knife image)

Dmitriy Popov has conjured up a masterpiece he calls the wide-bevel Honyaki Gyuto Hybrid, a new take on a recognized Japanese style.

“It isn’t a traditional gyuto, as it has an upswept tip and the height of a nakiri,” he commented. “Having the tip aligned with the spine of the knife gives the user a feeling of control for precise tasks requiring use of the tip. Having the extra height in the heel allows me to create a knife that is super thin behind the edge while also having a significant amount of mass above it.”

Popov’s creation includes a near 9.5-inch blade of differentially heat treated W2 tool steel and a handle combination of desert ironwood and osage orange complemented by a carbon fiber liner. His prices for similar knives range from $900 to $2,500 based on size and materials.

“The hamon and ashi* I am able to get out of the W2 is mesmerizing,” Dimitriy added, “and I spend a large part of my life going deep down the hamon rabbit hole. Honyakis are part art and part science, and the failure rate is a lot higher than I would like it to be. I really like the minimalist wa handle style [see page 14], and rounding off the bottom facet does not alter the traditional design much, while making the handle more comfortable in the hand.”

Having made knives since 2011, Dmitriy looks back at the beginning in everyday carry, tactical and camp models. After three years, he gravitated toward chef’s knives, and since 2016 they have been his sole focus.

“Everyone cooks, and at some point most cooks or chefs will come to appreciate the benefits of a good quality knife,” he observed of a chef’s knife field that has become quite crowded. “There are way more prospective customers than there are makers, so to succeed as a maker all you need is a very small slither of the pie and a drive to evolve your craft each day.”

Santoku-Style Knife By Eric Hemker

Hemker santoku — The long, nearly flat cutting edge of the damascus santoku by Eric Hemker enables it to slice, dice, and mince vegetables much easier than a blade with a sweeping belly. (SharpByCoop knife image)

While Eric Hemker admits he is still learning some subtleties of making chef’s knives, he has found that the santoku style is excellent for use in final food preparation.

His custom-ordered version sports an 8-inch blade of random-pattern damascus forged from 1084 carbon and 15N20 nickel-alloy steels. The overall length is 14 inches, and the handle is exotic blue-dyed curly mango. His price for a similar knife is $960.

“The lack of a pointed tip on the blade means it is not well suited for delicate carving work such as breaking down bony proteins,” Eric explained. “However, its long and nearly flat cutting edge allows it to slice, dice and mince vegetables and proteins much easier than a knife with a sweeping belly on the cutting edge.”

Translating literally from the Japanese, santoku means “three virtues, or three uses,” and so the slicing, dicing, and mincing description is spot on.

“This blade is 144-layer random-pattern damascus, and it features a full flat grind with a convex edge. The flat grind is my usual go-to grind for most general-purpose cutting needs that are common in the kitchen or in hunting-type knives. I also add a slight convex grind that leads into the cutting edge to aid in food release.”

Eric chose a modified wa handle configuration and attributes the decision to keeping step with traditional Japanese appeal.

“The top of the handle has the traditional wa-style octagonal facets,” he said. “But I wanted to spruce this handle up a little to challenge myself, so the bottom is curved to give it a shield-shaped cross-section. The handle has a 304 stainless steel bolster and an heirloom-fit black G-10 spacer. One of the only things the customer specified was a colorful handle, so this piece of wood was a perfect fit.”

For Eric, the entire package comes together nicely, blending the good looks and function that are inherent in Japanese-inspired chef’s knives.

“All these materials will hold up well in kitchens,” he remarked. “G-10 is a synthetic material that also holds up very well in any harsh environment, and since the wood is stabilized it should also hold up well in water and getting dirty in general. Since the handle is wood, it would still need to be oiled occasionally, and it should go without saying that a custom piece like this with a carbon steel blade and a wood handle should never go in the dishwasher.”

Eric began making knives six years ago and still considers himself at the beginning of a promising journey.

“Kitchen knives have been some of my favorite knives to make from the beginning because everyone uses one,” he noted, “so they are some of the easiest pieces to sell and get feedback on.”

Meanwhile, he welcomes the expanding number of makers and buyers in the chef’s knife arena.

“I don’t believe the custom chef’s knife market is overly saturated by any means,” he commented. “I think the demand really drives the market for these custom pieces, and I believe there will almost always be customers at every price point. In the last decade or so, there really has been a resurgence of demand for well-crafted handmade goods in almost every category of consumer goods, and I don’t believe that trend is going to be dying out anytime soon. This may be especially true for culinary knives when food is such a big part of many people’s lives.”

Straight-Edge Kiritsuke By Dre Laborde

kiritsuke by Laborde — The straight-edge damascus kiritsuke by Dre Laborde is specifically made to slice fish and some softer meats. The handle is curly maple from Realeyezwoodz. The sheath is stabilized maple and a joint project between Dre and Realeyezwoods. (SharpByCoop knife image)

The straight-edge kiritsuke from Dre Laborde is specifically made to slice fish and some softer meats, he says, and doesn’t necessarily lend itself to chopping vegetables.

“I’m no expert on Japanese knives as a whole,” he noted, “but from what I can find the kiritsuke seems to be a cross between the longer yanagiba and the stockier gyuto. The steel is X-pattern-ladder damascus that I purchased from MVH Damast based in the Netherlands. These steels have given me nothing but positive results and I can’t recommend them enough.”

The blade is 9.5 inches and the overall length is 14.5 inches. The handle is curly maple from

Realeyezwoodz, and the price of a similar knife would probably exceed the featured piece.

“It sold for $760,” explained Dre, “but it was a semi-experimental project for me, so a future project of this scale would cost more. The design, like all my knives, was drawn on paper to scale first and then made with the freedom to change the design as I see fit.”

The choice of handle material and design contributed to the overall appeal of the knife and its performance in the kitchen.

“The wood is stabilized, which means it was put under vacuum in a resin and hardened,” said Laborde. “This makes it resistant to water and to staining. The handle design is a slight variation on the common shape I do, made slightly longer to fit the length of the knife.”

Dre has been making knives for about three years and in that time hasn’t seen the chef’s knife market becoming overcrowded, though he has heard such comments. “Those willing to pay for a custom chef’s knife often have many and recognize the price tag that comes with them,” he added.

Haetori Honesuki By Tony Cetani

When Tony Cetani built his Haetori Honesuki with a 5.5-inch blade of Chevron copper-mai steel and an 80CrV2 core from Baker Forge and Tool, he added a handle of spalted box elder to complete the package and priced it at $1,000.

“Haetori means ‘jumping spider’ in Japanese,” he related, “and following my love for spiders this knife is named for the Haetori Gumo, a very common spider in Japan. It’s an all-around kitchen utility knife, and I based the design on the santoku and honesuki. Whereas a traditional honesuki’s main task is for deboning poultry, I made this to handle multiple tasks around the kitchen.”

Tony has been making knives since 2017 and tried chef’s knives for the first time three years later.

“Once I got a few kitchen knives under my belt, I fell in love,” he smiled. “I wanted to put kitchen cutlery on the market that was different and not your traditional kitchen-style knives.”

He succeeded with this effort and chose a slightly innovative handle style.

“This is a newer style that I designed specifically for this knife,” he said. “Adding a clip at the butt of the tang gives the palm a comfortable spot to rest when working the knife. I chose natural spalted box elder because it went well with the copper in the steel, and you can’t ever go wrong with box elder!”

As for today’s chef’s knife market, Tony sees strong demand and the capacity to supply it.

“There are a lot of makers out there putting out phenomenal chef’s knives. I think every maker has their style, and the style is what grabs the attention of a potential customer.”

*Ashi are various notches or details in hamons. To produce ashi, the maker applies thin strips of clay from the spine of the blade to the edge during the clay tempering process, which contributes to interesting variations in the resulting hamons.

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Few Knives Have Been As Heavily Influenced By Japanese Methods As The Chef’s Knife. These Four Quality Blades Show Off The Modern Meeting The Historic.

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