Knifemaking Archives

Veronique Laurent Is Winning In A Man’s World

Jason Fry

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November 17, 2022

Veronique Laurent Has Become One Of The Most Accomplished Smiths In The World Even After Fighting Against Prejudice In Her Native Belgium.

I come from Texas where a knifemaker is more likely to wear boots and a cowboy hat than a suit and tie. In many parts of the world, it’s commonly assumed that a knifemaker is a man.

This past March I caught up with American Bladesmith Society Master Smith Veronique Laurent at BLADE Show Texas in Fort Worth, Cowtown, USA. She had no boots or cowboy hat and her accent isn’t “Southern,” but she’s sure enough a bona fide knifemaker.

Veronique comes from Brussels, Belgium, where French is the spoken language. Now, I don’t speak French, so out of respect I asked her how a non-French-speaking person should pronounce her name.

Over here she’ll answer to the Americanized Veronica Lawrent, but the correct answer is more like Vehr-o-NIK-eh Law-ron, with the rolled R’s in the middle of each. In Belgium the people use the last name first, so she’s often just called “Laurent.” Now that you can read her name in your head in a beautiful French accent, let’s move on to the interesting part of the story.

Veronique found her first career as a clerk at a Belgian TV station. She did cold metalworking as a hobby. While on holiday in France in 2004, she attended a knifemaking and blacksmithing event similar to a U.S. hammer-in. She later took a one-day knifemaking class with the Belgian Knife Society and never looked back.

She became involved with the Society and learned more about knifemaking from the members of that community. The group eventually broke up but not before Veronique was well on her way.

In 2010, again in France, she attended a hammer-in that included ABS Master Smiths/BLADE Magazine Cutlery Hall-Of-Fame® members Joe Keeslar and Jay Hendrickson. In Belgium and France, a woman is not commonly accepted as a knifemaker. So it was that Veronique was pleased and surprised by the hospitality that Joe and Jay showed her, particularly with the respect they gave her as a craftsperson.

For while a female knifemaker is a bit of an American rarity, being female isn’t an automatic gale-force headwind in the American knifemaking journey. In Europe, however, things are quite different. Veronique struggled to sell knives in Europe even as her skills advanced.

“When a man came to my table and picked up a knife, he would ask me who the maker was,” she recalled. “When I said that I made the knife, he would then ask the person next to me who made the knife. Once he knew I was the knifemaker, he’d put the knife down and walk away. In Europe they don’t want to buy a knife from a woman.” She made it her goal to be a full-time maker, and her American contacts became even more important.

Becoming An ABS Master Smith

Laurent Blade Show — Veronique (left) makes a point as her fellow panel members—from right, ABS Journeyman Smith Lora Schwarzer and knifemakers Grace Horne and Abie Lyons—listen during the Women’s Bladesmith/Knifemaker Panel class of BLADE University at BLADE Show ’22.

After her contact with Keeslar, she journeyed to the 2013 BLADE Show and gained her ABS journeyman smith certification. She then began corresponding with ABS Master Smith John White, who encouraged her to learn to build takedown knives.

“In 2015 I built my first takedown knife, and that same week I received the ABS email notification that John White had passed away,” she recalled. “I built all of my master smith test knives as takedowns in his memory.”

Veronique pretty well blew away the crowd at the 2015 BLADE Show and gained her MS stamp. After the show, she and ABS Master Smith Jean-Louis Regel of France spent three weeks in Brazil learning advanced damascus techniques from ABS Master Smith Rodrigo Sfreddo.

“After I was a master smith, I began to ‘exist’ in Europe,” she noted. “I became a full-time knifemaker shortly after that.” Even with American renown and credibility, the headwinds of bias still were a challenge in her home country. “People were rude, and it made me think ‘I will show you!’ Their bad attitude became my motivation,” she said.

She began to work with Jean-Louis more and more (Jean-Louis also earned his MS in 2015). Because of bias, it was often assumed that he did her work for her, that he made her damascus or that she worked only in his shop. This was not the case.

Though to Americans it makes sense that the two French-speaking master smiths must be connected, the real story is that Veronique and Jean-Louis each have their own shops in their hometowns. Their shops are roughly 375 miles apart, with Veronique in Belgium and Jean-Louis in France. The journey between them takes about eight hours.

Even in Texas, where we measure trips in hours, not miles, an eight-hour trip is a “long haul” or a “far piece.” While the distance was significant, they covered it about once a month depending on workflow. Veronique says that she has better grinding and finishing tools in her shop, while Jean-Louis has a bigger shop with better damascus-making equipment.

Veronique and Jean-Louis attended the International Custom Cutlery Exposition (now BLADE Show Texas) in Fort Worth in 2018, and each won multiple awards.

“In all my trips to America, only one time has anyone set my knife down rudely like in Europe,” she noted. They joined The Knifemakers’ Guild on that trip also and spent a week learning bladesmithing from ABS Master Smith Rick Dunkerley.

Covid got in the way of travel plans and so Veronique and Jean-Louis were unable to return to America until this year’s BLADE Show Texas. As an American, it wouldn’t cross my mind to visit France regularly to try to sell knives, so I was curious why Veronique keeps coming back. She explained that “Europe doesn’t like to ship big knives. It is very complicated and expensive. Sometimes you can ship a small letter opener or something, but it is very difficult.”

Rather than fight the restrictions, it’s easier to travel over here and sell her work where it is in high demand. Another thing she does is make a “junior baby” model of each major piece. If she makes a dagger, she makes another small one. If she makes a big bowie, she makes a similar hunter. These smaller pieces tend to sell better in Europe than the big works.

Veronique Laurent’s Knives

Laurent bowie — Based on the Musso Bowie, Veronique’s Big Boy Bowie won Best Fighter at BLADE Show Texas. It has a 13-inch feather damascus blade of O2 and 45NCD16 tool steels with a riveted brass back. Parts of the guard are mirror polished, parts are stippled, and parts are engraved with raised flowers. The handle is ancient walrus ivory. Overall length: 18.5 inches. (SharpByCoop image)

Veronique had a good variety of knives at BLADE Show Texas that showcased her skills and versatility: a large brass-backed bowie, a few elegant hunters and a folding dagger.

“It was an honor to be asked to make a big bowie,” she observed. “It’s a man’s knife and it took many years for a man to trust that I could build a large bowie.”

While she doesn’t build knives “to order,” she does keep a list of customers who are looking for a particular type of knife. “I don’t take orders. I want to be free!” she explained. She’d been asked to build a big bowie and did her research and came across the Musso Bowie. She built the Big Boy Bowie and it promptly won Best Fighter in Fort Worth.

Big Boy is highlighted by a feather damascus blade of O2 and 45NCD16 tool steels with a riveted brass back. The guard is O2 also. Parts of the guard are mirror polished, parts are stippled, and parts are engraved with raised flowers.

“O2 steel is good because you can finish it many ways and it works well for the engraving,” Veronique explained.

The handle is ancient walrus ivory. Also on her table was a fine damascus folding dagger that won the show’s custom judging award for Best Folding Knife. All the fittings, engraving, jewel settings, and display box are by Veronique.

So where does one go next when you’re already known worldwide?

“I want to focus on engraving and filework,” she said. “I am also learning to make automatic folding knives from Rick Dunkerley.”

Veronique is a strong woman and plays well at what is often a man’s game. She doesn’t take orders but builds a few major pieces in several categories each year. She prefers email communication from Americans because it is difficult to hear and translate over the phone. She’ll be at the major shows, but you’d better get there early as her work is in high demand.

For more information about Veronique Laurent and her knives e-mail her at [email protected].

Read More

The Rise And Growth Of Women Knifemakers
The Many Moods Of Mosaic Damascus
Young Knifemakers: The Future Is Now

The Rise And Growth Of Women Knifemakers

Mike Ableson

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November 16, 2022

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Women Bladesmiths Thrive And Continue To Shape The Knife Industry.

Women’s pocketknives? Can’t anyone buy any type of pocketknife?

Sure, but knives designed and marketed specifically for women are few and far between even among the big knifemakers.

Enter Brighten Knives, a small, upstart knife company based in Utah. Founded by Diane Carver and her daughters Kristy, Katie, and Kimi, Brighten has grown into a successful maker thanks to a strong vision and some good luck.

“We worked with [the Salt Lake Tribune],” Diane said. “They wrote an article about us because aside from being women’s knives, which is kind of a cool product, it was also a human-interest story where it was a mom and three daughters starting a knife company.

“It was unique and different. They put an article out and it kind of snowballed from there. A radio station picked up on it, and our Utah Senator Mike Lee even sent us a letter.”

All that good press, along with a Kickstarter that raised almost $14,000 (almost triple the initial $5,000 goal), and Brighten has been on a roll ever since.

Brighten’s Inspirational line of knives all come in bright, bold colors.

The company is built on Diane’s decades of experience in the industry. She was the knife product manager for Browning for 17 years and has worked with Fox Knives, along with marketing* household cutlery for companies like Traeger.

Diane’s experience in the industry is complemented by her daughters’ work. Kristy created all the original designs and colorways of the company’s knives. Kimi has worked in product development and sales, and Katie has a background in sales and writing as well.

As the quartet designed their knives the hard question to answer was: What exactly does a woman’s pocketknife look like?

“Being in the industry for so long I know that most women, and I don’t want to generalize because there are a lot of women that carry it in their pockets, but a lot of our pants are made where they can’t even hold a knife,” Diane said. “The one thing that we did that kind of separated us was including the case. The case comes with all of our knives no matter [the product line] so that you can throw it in your purse or your glove compartment.”

Brighten has two original lines of knives: the Inspirational line and the Not So Heavy Metal Series. They all come with a case that’s roughly the size of a wallet that is easily portable. Additionally, all of the knives are available in a smaller keychain variety.

All of the blades are made from 8Cr13MoV stainless steel. For the larger varieties, the blades are between 2.5- and 2.56-inches long, and the keychain knives are between 1.6- and 1.65-inches long. The knives open with a thumb stud and feature a linerlock.

The Inspirational line is the company’s original line of knives. Each blade is married to an aluminum handle resplendent in brightly colored designs. The blades all also have a different inspirational word on the steel, words like “Faith” and “Hope” and “Brave.”

“All of the designs on the knives and cases are originally designed by my daughter Kristy,” Diane said. “I know it’s kind of unusual to see words like “laugh” and “faith” and “love” on knives, but we wanted it to be something fun. On the packaging, there’s a quote that goes along with each one. One thing we’ve seen is people like purchasing them for specific things. Our Hope knife is a breast cancer knife, and the quote on it is ‘When the world says give up, hope whispers try one more time.’”

Diane’s market research showed there was a large segment that wanted more muted colors and streamlined designs. Enter the Not So Heavy Metal line. Every color is named after a popular rock-and-roll band or song.

Brighten Blades Green Day — The knives in the Not So Heavy Metal line come in more muted, monochrome colorways with a steel bolster.

Diane laughed, mentioning the generational differences as her daughters recommended Green Day while she mentioned names like Purple Rain and Blue Oyster Cult.

“There was about 25 percent [of women] that said they were more of a minimalist and wanted more plain, solid-colored things,” Diane said. “We want Brighten to be the premier knife company for women and so we wanted something that would appeal to everyone. That’s how we came out with our Not So Heavy Metal line. We had a ton of fun naming the colors.”

The full-length knives retail for $29.99, and the keychain knives sell for $19.99.

As Brighten Knives has continued to expand, the press and publicity around it has swelled. YouTubers such as Neeves Knives have reached out and produced content about Brighten, as have other digital creators.

Carver said the goal is to make knives that are women-forward that take care in their design and construction rather than just slapping some pink scales on the side and calling it a day. She did speak positively about the Kershaw Chive and some of Spyderco’s knives but that she hadn’t seen any marketing directly for women from those factory makers.

There is also the Femme Fatale line of women’s pocketknives from Defense Divas which are marketed as spring-assisted self-protection knives.

femme fatale knife — The Sneakerhead rescue folder is an example of the types of knives, both in terms of utility and style, made by Defense Divas.

While all of Brighten’s knives have a story and purpose behind their design there is one question Diane and her team get regularly: Can these knives be used in self-defense?”

“We have a lot of questions about whether these are self-defense knives,” Carver said. “Obviously, any knife can be used for self-defense in a pinch, but that’s not what these knives are designed for. They’re in a case in your bag. We are coming out with some designs for self-defense but that’s another story.”

That “another story” will feature self-defense videos made by the company featuring self-defense experts with military backgrounds. Everything is one step at a time as the company looks to grow and sustain itself going forward.

For now, the company started by a mother and her three daughters continues to grow and thrive, and make fun, exciting pocketknives for women.

Female Knifemaking Standout Audra Draper

Few women in the field are as accomplished as Audra Draper. The Wyomingite was the first woman to earn master smith status in the American Bladesmith Society back in 2000. Since then she’s made pretty much everything and, along with her husband Mike, taught countless new makers the craft of making knives.

“Back in the day it was hard to get people to acknowledge that yes, a girl can do this, too,” Draper said. “But now it’s not a big deal, people don’t react so crazy anymore and that helped, because if you’re a young girl and walk up to a knifemaker’s table at a show and tell them you want to make knives, you need them to react like ‘Sweet, what can I do to help you?’ which everyone does now.”

While Draper is as experienced as it comes, one thing has both eluded her and caused her very little concern: making knives specifically for women. She said that she just wants to make beautiful, functional knives that people will want.

She said the only key difference can be making knives with a smaller handle since a woman’s hands are usually smaller than a man’s.

draper turmoil — Audra Draper’s Turmoil is a beautiful damascus fixed blade. (Image: SharpByCoop)

“Most women that are interested in knives don’t want a woman-specific knife,” Draper said. “They just want what the guys are carrying. I’ve made some knives that I was so certain would be purchased by a woman, and a man buys them 99 percent of the time. The women are usually hunters and fishers or they want it for the kitchen. The only difference if you’re a woman or a man is maybe a smaller handle.”

She laughed thinking about the times she’d made knives designed for women utilizing materials like turquoise, and when they hit the table the piece was scooped up by a man. She stressed that knives are neither feminine nor masculine–they just are.

And for young women interested in learning the craft she had one simple bit of advice–reach out and ask people to help.

“Just ask questions. Talk to people,” Draper said. “There’s plenty of info our there now and plenty of courses to take. I would highly recommend before buying expensive equipment to take a course with an established maker because that’s going to tell them right away if this is something they want to do.”

Young Women Shining In The Knifemaking World

Raegan Lee and Karis Fisher are two young makers establishing themselves in the world of bladesmithing. Lee, an Idaho native, is just 21 years old but has been making fixed-blade knives for years from CPM 154 stainless. Are these specific knives for women? No, but having an enthusiastic, creative woman making knives will help craft what a “woman’s knife” becomes.

“I want to get into folders, specifically slip joints,” Lee said when we talked at BLADE Show West. “That’s where I’m heading. To be one of those makers that can bring three knives to a show and sell out on a lottery is a great feeling. To really be known in the community would be a huge, huge thing.”

Raegan Lee’s “Cow Poke” with red fiber Micarta® handle. Her price: $200

Lee went on to say how important it is to have female makers creating knives and being mentors and examples for young artisans entering the field. She said Audra Draper was an inspiration for her.

“I think it’s extremely important,” Lee said. “I do knives most of the time, but I’m also an aluminum welder at an off-road company, and that’s also a male-dominated world. I just think there has to be one of us, and the rest of us can see [what’s possible]. The more we have the more it’ll be great for us.”

Fisher is the daughter of ABS master smith Josh Fisher. Even though just a recent high school grad, her fixed blades are stunning and show off her skill in the forge and with the hammer.

Karis Fisher hunter — A hunting knife with an ironwood handle made by Karis Fisher

For Fisher, the biggest way to grow the base of female makers is simply by exposing more people to the craft of bladesmithing. TV shows and numerous YouTube channels have certainly helped a lot in bringing knifemaking more into the mainstream in recent years, and Fisher said that can only help.

Fisher even said that if her dad wasn’t a successful smith she probably wouldn’t even know about knifemaking.

“I think not too many people really know that knifemaking’s out there,” Fisher said. “If more people knew about it, it might be more [popular]. Forged in Fire does quite a bit for it.”

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Shop Dump: Steve Schwarzer

Pat Covert

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November 8, 2022

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We Take A Look Inside The Shop Of ABS Master Smith Steve Schwarzer And See How He Makes His Mosaic Damascus Wonders

Of all the forgers of mosaic damascus in the knife industry, none stand out any more than American Bladesmith Society Master Smith Steve Schwarzer.

Steve began forging in the early 1970s. In 1981 he received his ABS master smith rating, his papers signed by none other than one of four ABS founders/BLADE Magazine Cutlery Hall-Of-Fame® member Bill Moran, and was officially recognized as an MS in 1983. Steve has an intense passion for forging mosaic damascus and his contribution to this steel niche over the decades has been immeasurable. Unselfish to the extreme, he has forged damascus for many custom makers and tutored many on forging and the making of pattern-welded steel over the years—which he continues to do to this day.

His awards over 50 years of knifemaking are too numerous to name, as have his appearances in BLADE®. BLADE is delighted to feature Steve once again, this time in a supersized edition of “Shop Dump” to give readers a deep dive into the equipment this modern-day master uses to achieve his magical works.

Inside Steve’s Shop

schwarzer grinder — Steve rescued his Kent USA precision surface grinder from a knifemaker friend. In the process of retrieving it, Steve almost destroyed it while loading it. However, another friend restored it to better than new.

As you can imagine, Steve has acquired a lot of equipment over his many years of knifemaking and has honed his shop to perfection. We asked the artisan to give us an extended tour of his digs and he gladly obliged. He kicked the tour off with his forging hammer.

“The Chambersburg 2 Hammer was my first real game changer,” Steve notes. “I had owned several mechanical hammers before I found it. The control in forging set me apart from others. It also allowed me to work much larger masses of damascus. I have trained dozens of the current top makers pattern welding using this machine. I built my second shop around it. It’s now in my home shop.

“Next up is my custom-built 50-ton Coal Works computer-assisted C Frame press. This is a recent acquisition and is also a game changer for controlled forging. It has a return to 1/100 of an inch. Basically, it comes with millions of electronic stop blocks. It has the ability to swap dies to any configuration in minutes. I have built many presses over the years; this one has all the benefits and adaptability afforded by all the others combined. I worked very closely with the crew at Coal Iron to bring this beast to life. I’m still exploring its capabilities.”

Grinders are a must-have of any maker’s shop and Schwarzer has a passel of them.

“I own four Beaumont grinders—one for over 20 years—and they are great machines that track properly,” Steve states. “Three are 2×72 belt grinders, two with controllers. They’re constructed of steel, making it very easy to make tooling and various fixtures for any project. The disc grinder runs perfectly true, making grinding precision angles a breeze.”

Steve Schwarzer’s Forges

Schwarzer ribbon forge — Steve’s ribbon burner is one of several forges in his shop. He designed it and a close friend built it. It’s purpose-built for working very large canister damascus.

Steve brings the heat to his steel with a forge of his design.

“My forge is one of several I run in my shop. It’s a ribbon burner designed by me and constructed by a close friend. It’s purpose-built for working very large canister damascus. I have built dozens of forges over the last 40 years. This is the latest version. My previous forges were all versions of a Don Fogg design.”

If you’ve read past installments of “Shop Dump,” you know it’s not at all uncommon for equipment to be passed down from one maker to the next. Such is the case with Steve’s mill and surface grinder.

“My Kent USA knee mill is my go-to for all precision drilling and milling. It was rescued from a retired knifemaker who took excellent care of it,” Steve relates. “It’s variable speed, making it handy for all types of tooling.

“I also rescued my Kent USA precision surface grinder from the same knifemaker. It had a history when I went to retrieve it. I made a rookie mistake loading it. Long story short, I, for all practical purposes, destroyed it. I broke about everything on it. I had in mind to scrap it. I called a friend who owns one and asked if he wanted it for parts. He said, ‘Let me look at it.’ I took it to his shop. He is a true wizard. He totally restored the machine I thought was lost to better than new. He also taught me how to properly grind with it. I will always be grateful.”

If walls could talk there is no telling how many amusing tales Schwarzer’s shop could tell.

“I have a shop full of machines, all with some story attached,” the affable bladesmith said. “My tool rack has dozens of hammers and tongs collected over 40 years. This is my happy place. I love teaching and sharing the stories with students and friends.”

For more information contact Steve Schwarzer through his website at steveschwarzer.com.

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The Many Moods Of Mosaic Damascus

Mike Haskew

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October 31, 2022

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Mosaic Damascus Can Be Made Numerous Ways, And These Master Smiths Are All Putting Their Own Spin On The Craft.

The many moods of mosaic damascus provide the bladesmith and custom knifemaker with an ever-changing form of artistic expression. The possibilities of a new pattern, a different look, and yet another lasting impression are endless.

For several makers, mosaic has become a signature steel in their presentations, and these imaginative artists are pushing the envelope in an already dazzling array of motifs for blades and knife fittings.

Kelly Vermeer-Vella

In her Riptide pattern, American Bladesmith Society Journeyman Smith and past Forged in Fire champion Kelly Vermeer-Vella provides a great example of the new frontiers being explored with mosaic damascus.

“It’s initially called that because it looks like calm waters,” she commented, “but also because the forging process is pretty brutal. So, now I call that process ‘ripping it!’ Sometimes I win and sometimes I make hunters!”

Kelly showcases the Riptide pattern on her 12.5-inch fighter with a 7.5-inch blade and mammoth ivory handle sporting a long, modified “S” guard.

“I really enjoy swooping forged guards that complement the curves of the blade and handle. And I love mammoth ivory, so I make a lot of frame handles,” she added. “I think the best-looking frame is in a low-layer twist, 25 layers or so.”

The Vermeer-Vella mosaic involves a commitment to hard work to produce the desired results.

“The pattern is not san-mai,” she revealed, “rather, different layer counts of stacked W’s with heavy 1075 steel on the edge. The wing effect comes from forging. I push and pull the pattern with a hand hammer and forge to shape so that the pattern flows with the edge.”

The blade material is the 1075 carbon steel, which appears as the dark areas, and 15N20 nickel alloy, which shows as the grey, shiny areas. “I etch in 3-to-1 ferric chloride and also do a coffee etch,” she added. Her power hammer is an Anyang 88 and she uses a Riverside 24-ton press.

Jack Rellstab

Like Vermeer-Vella, Jack Rellstab is an ABS journeyman smith who enjoys the creative process of forging mosaic damascus. His Western Chef’s Knife brings a robust profile to life in a mosaic pattern called Flowers and Frogs.

“The pattern is one of my styles of W’s explosion,” he noted. “I started the original billet with the layers of both 1080 and 15N20 getting progressively thinner from one side of the billet to the other. After using square dies to resquare the billet for W’s, I drew it out with a taper so the W’s would get tighter towards the end. Then I did a restack and a four-way to finish it. So, the steel is 1080 for the dark portion and 15N20 for the bright.”

The handle is amboyna burl, bronze and G-10. He says the grip is designed around most Western-style kitchen knives on today’s market, though the belly/underside might be a bit shallower.

“With this mosaic pattern, I wanted the knife to look alive,” he offered. “My idea was with the taper in layers to give it an organic look that appears as if the elements are actually growing. I used a 165-pound hammer belonging to New West Knifeworks, and I also used their Anyang hydraulic press for resquaring.”

Jack began his bladesmithing journey with mosaic damascus by watching a YouTube video, and then let his imagination kick in to develop the exciting pattern that is sure to generate conversation in any kitchen.

Will Stelter

The Serpentine Multi-bar Santoku by ABS Journeyman Smith Will Stelter sports a mosaic damascus pattern of the same name. The handle is ivory paper Micarta®. He used 1080 carbon and 15N20 nickel-alloy steels for the pattern-welded twisted bars and Cruforge V for the edge. The Cruforge V etches darkly, and its wear resistance and high working hardness make it ideal for culinary knives.

“I started by forging up 28 layers of W’s,” he recalled, “and then worked that billet down to a half-square twisting stock. I twisted three bars right hand and two bars left hand, lining up my twists as best I could before forge-welding them together. After they were stuck, I forge welded on a solid Cruforge V edge bar that was around 40 percent as wide as the multi-bar billet, but the same thickness. With my final stock stuck together, I then laid out and cut away several three-quarter-inch-deep grooves or divots from the profile of the rectangular 2-inch wide bar, which still left Cruforge V on the edge, and two full twisted bars at the thinnest parts of the patterned area on the spine.

“I then flattened down the billet, which took the previously straight layers and gave them the bold ‘serpentining’ that came out in the blade. I then forged my blade to shape and forge welded on some of the base W’s stock that I twisted from as bolster material. This is a very similar technique to how the classic ‘River of Fire’ pattern is done, but with a different base pattern other than the usual feather pattern.”

Will used his 1924 400-pound ram Beaudry hammer to do the majority of the forge welding and a twisting machine to twist the five bars. He learned his pattern-welding technique and the ability to visualize the way the steel moves from bladesmith Salem Straub, crediting Straub with teaching him how to design patterns “with intentionality behind them.” The pattern itself is sole authored by Stelter, who has done some serpentine multi-bar patterns prior to the subject piece. However, this was his first attempt with a monosteel-edged bar.

“The serpentining is purely aesthetic,” Will said. “It’s meant to give a bold line for the eye to dance down rather than the straight, more classic intersection of the edge bar that is normal for a composite construction. This also means that from far away you see an interesting pattern, and then when inspected up close the explosions of the twisted W’s really pop out, which gives the overall piece an interesting level of depth.”

Will considers this particular mosaic “an intermediate-level pattern, easy to try, though somewhat difficult as well. The most challenging part is building a high-quality multi-bar pattern with adequate layer density and well-matched twists. The rest of the pattern is fairly simple.”

Brent Stubblefield

At the Join or Die Knives Forge in Richmond, Virginia, Brent Stubblefield hammered a beautiful blade in his Crossroads mosaic pattern—and did so with multiple techniques.

According to Brent, “There is the initial damascus forging, crushed W’s, twisting, four-bar-squaring welds, ferry flip tilting, edge bars, and a ‘fish mouth’ tip to make the edge bars meet. There are multiple elements that are forged on the edge or corners to manipulate the pattern, and finally the knife shape and integral bolster are forged to shape.”

The mosaic is comprised of 1084 and 15N20 steels, with the 15N20 appearing as a silver white on the blade while the 1084 blackens with a ferric chloride etch.

“The shapes in this pattern reflect a desire to incorporate all the different techniques of mosaic damascus making I have learned over the years,” he explained. “I’m always trying to find a way to create never-before-seen patterns in order to add something totally new to the American bladesmithing tradition.”

Stubblefield used an Anyang 88 power hammer and homemade 30-ton press to create the Crossroads mosaic. A Bridgeport mill was helpful in the squaring-up process and flattening pieces for rewelding. A Miller welder assisted in tacking materials up before they went into the forge, while an Evenheat kiln and Broadbeck Ironworks grinder were key tools in the process as well.

“Although I did not have any single mentor,” Brent mused, “many knifemakers have gone out of their way to share tips and tricks with me. While they didn’t teach me directly, [bladesmiths] Mareko Maumasi and Salem Straub have been very generous with sharing their processes through social media. I certainly have referenced them among others.”

Stubblefield continues to challenge himself as his career advances, and he sees no slowdown in the creative process. “This knife is very difficult to do simply because the higher number of forge welds create more opportunities for failure,” he reasoned. “Any complex damascus blade is actually just many simple techniques combined together. The hardest part for me is understanding how manipulating the pattern early in the process will affect the outcome, and visualizing the end pattern.”

Read More

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Young Knifemakers: The Future Is Now

Knifemaking

Mike Haskew

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October 26, 2022

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As The New Generation Of Knifemakers Begin To Hone Their Craft, The Masters Of Today Help Guide Their Path Forward.

A new wave of interest has brought the younger generation closer to the forge and to the welcoming classrooms of bladesmiths that are quite willing to share their time, talent and tips to help the youngsters develop their own skills. That interest comes not only from a growing awareness of the beauty of the finished forged blade, but also an appreciation of the time and dedication necessary.

American Bladesmith Society (ABS) Master Smith Ray Kirk has been teaching kids bladesmithing for some time, and he sees the investment in the future as time well spent.

“Most of the young students usually have a parent that will either make a blade with them or watch the total process,” he commented. “Besides understanding the phrase ‘Strike while the iron is hot,’ they learn to control the steel by where they hammer. The experience of sharing the class with a parent or sibling is the best kind of memory to make. Knowing they will make something that will probably outlast them is something they probably never did before.”

Ray began teaching his grandchildren when they spent time at his home, and he has taught both boys and girls. Depending on the age, both genders are proficient and can use the hammer. His youngest student began learning at 11, and his grandchildren have been around the forge since they were 6.

“At that age, it was just showing them how to change the shape of steel by heating and hammering,” Ray said. “If they can drive a 16-penny nail into a 2-by-4 they could do the class, and I never really considered the sex of the student to have a bearing on taking the class.”

Some of the more satisfying moments for Ray have been watching his students as young adults competing on History TV’s Forged in Fire. Several have won in competition and all have enjoyed the experience, making friends and expanding their knife knowledge. The smile that shines when a photo is taken of young bladesmiths and their knives is something special.

Ray’s class consists of work to complete two knives of hidden-tang integral design from a 12-inch round bar of three-quarter-inch 52100 steel.

“What they can’t do I will do for them,” he explained. “Learning how is the important part. I don’t expect the students to be an expert at any part of the procedure, and as long as they are watching and learning, I can finish it for them. If I only have one student, it can be a one-day affair. Two students usually require two days, and out-of-town students can use our guest house to stay in. The cost of the class is $350 per student.”

Pride In Teaching Younger Smiths

With the blade secured in the vise in Rick Dunkerley’s shop, 7-year-old Jacob Dove sands the handle.

ABS Master Smith Rick Dunkerley began teaching privately in his shop in 1992, and his first student was Josh Smith, who went on to become the youngest ABS journeyman smith at 15, the youngest ABS master smith at 19, and twice a competitor on Forged in Fire.

“I started teaching Josh when he was 11,” Rick remembered. “That was 30 years ago. He was on the Little League team I coached and showed interest in the knives I made. He was very motivated and not deterred by the work involved.”

Dunkerley says that he doesn’t have a specific program for kids but has invited those who show interest to his shop or hammer-ins.

“If they continue to show interest, I help them out,” he remarked. “I think making things by hand gives kids and adults great self-confidence and pride. So much of the modern world is fast paced and disposable. The process of making a knife forces a slowing down and focus that is lacking in a lot of kids’ lives. It also gives them something to care for and preserve as opposed to the normal disposable crap of everyday life. I don’t encourage or discourage anyone, kids or adults, to pursue knifemaking as a career. I give them my experience on the subject and let them decide on their own if they can make the sacrifices involved.”

Rick usually starts a student out with stock-removal knives. He says he believes learning to grind a blade is more difficult than forging one. Then, should the student decide to learn bladesmithing, the learning process continues.

“My proudest moments as a teacher have always been seeing the pride and satisfaction in the students’ eyes when the knife is finished,” he added. “I believe the pride and satisfaction of making things with our hands makes better human beings. That’s enough motivation for me to help when I can.”

Absorbing lessons from Dunkerley and listening to his advice has paid huge dividends for Josh Smith, and his memories of those days filled with learning the bladesmithing art remain fresh in his mind.

“Rick’s mentorship launched me into a career that I would never have had without his help,” Josh recalled. “Thirty years ago this year, I started making knives under him. Those times under the tutelage of Rick provided me with an opportunity to tap into my craftsman and artistic side.”

Josh has taught his own kids the fundamentals of bladesmithing. “Time spent in the shop can absolutely help open up the world of possibilities in regard to craftsmanship,” he assessed. “Whether it’s making knives, blacksmithing, gunsmithing, wood carving or woodworking, the shop can provide amazing experiences for kids.”

ABS Program

Young students man their anvils in the Bill Moran School of Bladesmithing at Texarkana College.

Don McIntosh runs the youth bladesmithing program at the Bill Moran School of Bladesmithing at Texarkana College, and he sees a future with the endeavor.

“We rekindled it this year and it was very successful, so we’re looking to make it something we’ll be proud of on an annual basis,” he commented. “It caters to 14- to 17-year-olds and it’s a 16-hour program over three days.”

The Junior Bladesmithing course was held in June and included six participants who took part in a program that was packed with hands-on activities. The fee is a modest $175, and there may be a tie-in with the college to introduce bladesmithing to a wider audience of youngsters. McIntosh also volunteers with a local Boy Scout troop to demonstrate bladesmithing and generate interest among younger kids.

“Our program at the Bill Moran School this year included a half day on Thursday, a full day on Friday and a half day on Saturday,” Don explained. “At the end of the program, if they have forged a knife, they grind it and heat treat it and then put a cord wrap handle on it.”

The program is open to boys and girls, and Don says any young ladies who are interested in learning about bladesmithing are welcome.

“Absolutely! We want to keep the spark going, and I’ve been adamant that this is an avenue of approach that’s better than sitting in front of a video game. Most kids are enthusiastic about hunting and bowie knives at that age, and you can come to the program and do something hands-on. The idea of forging your own knife is a pretty cool concept, and interest has been amplified by Forged in Fire. The kids watch it and so do their parents.”

McIntosh says the ABS is currently looking at the format and date for the next Junior Bladesmithing event, and the commitment to the future of the program is firm.

Bladesmith Kit #1

As Ray Kirk observed, “The experience of sharing the class with a parent or sibling is the best kind of memory to make.” Jason Proctor and his son Jaxon hold the knives (top) they made in Ray’s shop. (Lou Ann Kirk images)

The Blacksmiths Depot’s Bladesmith Kit #1 may have applications with young bladesmiths, depending on their level of interest and experience.

It comes complete with an 800-gram Swedish hammer; .75- and 1.25-inch blade tongs; White Mountain flux; Cherry Red hardening compound; PBC anti-scaling compound; regular tomahawk mandrel; regular tomahawk handle; men’s Jersey gloves; jumbo block brush; sodium flare safety glasses; ear plugs; and two publications: The Complete Bladesmith by Jim Hrisoulas and Handles and Guards by BLADE Magazine Cutlery Hall-Of-Fame® member Joe Keeslar. Priced at $395, the kit does not include blade steel.

“Most who want to do blades should experiment with mild steel or scrap before spending money on the more expensive metallurgy,” related David Kayne of Blacksmiths Depot. “Youth should not be doing any form of blacksmithing, bladesmithing or stock removal without good safety habits and adult supervision. Anything that has to do with weapons needs training and oversight, including the making of blades.

“Otherwise, we do not see any reason why this kit wouldn’t work out for youth,” he concluded. “Even the hammer in the kit is light enough weight for a youth. We do recommend that both youth and adults read through the books first before attempting to make a knife. A little background knowledge of forging could mean the difference between frustration and success.”

Stimulate And Create

The efforts to introduce bladesmithing to young people and the opportunities it affords them can bring on fantastic results, stimulate natural curiosity and offer an outlet for creative energy. More and more, such programs and events will influence the bladesmiths of tomorrow and contribute to raising them right.

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Flipping In: The Rise Of The Custom Flipping Folder

Mike Haskew

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October 25, 2022

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Custom Flipping Folders Are Becoming More And More Popular By The Day. These Are Some Of The Coolest Custom Flippers.

The energy surrounding the custom flipper folder market is rising to new heights these days with the fit and finish, good looks and liveliness of high-quality materials, incredible skill, and, best of all, imagination.

A look at the current trends among some of the best in the class offers the custom knife market perspective on the future while also allowing a moment to appreciate and absorb the excellence around us. The commitment to make flipper folders isn’t taken lightly; it involves a concentrated effort to achieve, meet, and overcome the challenges in bringing this type of custom knife to life.

Dan Thornburg – Albuquerque, NM

Of his flipper folders Dan Thornburg said, “Little things like the cutout on the lockbar or depth of bearing pockets all affect how smooth the action will be.” The blade is Moku-Mai by Baker Forge and the handle is ancient walrus ivory. Closed length: 5 inches. His price for a similar knife: $2,000. (Image: SharpByCoop)

“I really enjoy making flipper folders because of the challenge they present in both mechanical function and working with different materials,” explained Dan Thornburg of Albuquerque, New Mexico. “I like figuring out how things work or why something doesn’t.”

Thornburg got started in flipper folders after meeting Paul Lusk at a Houston knife show years ago. “This guy is one of the smartest people I’ve ever met and is one heck of a good businessman,” Dan said of Paul. “His encouragement helped my knifemaking get to the next level.”

Evidence of that next level is readily apparent in Dan’s flipper in a handle of ancient walrus ivory with damascus bolsters. Made by Baker Forge, the blade material is Moku-Mai—mokume forge welded over 80CrV2 carbon steel. Dan said it’s not unlike a san-mai construction using mokume. The product of his ingenuity reflects an intense technical appreciation.

“I don’t think I’ve changed the design as much as refined the design,” he reasoned. “Little things like the cutout on the lockbar or depth of bearing pockets all affect how smooth the action will be. I do try to keep it simple and not reinvent the wheel, so to speak.”

Thornburg succeeds handsomely in his mission, paying close attention to detail and applying a natural talent for precision. He indicated he likes the flipper tab to double as a single guard and fashions it with the same material as the blade. Then, he advises the owners of his flipper folders to learn their safe operation.

“I think, just like most things, operating a flipper folder is a learned thing,” he said. “The more you flip it open, the easier it becomes. My dad still couldn’t open the best and smoothest folder I’ve made—too old school I guess! For someone that owns and loves flippers, most will fly open.”

Eliot Maldonado – Bulverde, TX

“Having a shorter tab is easier on pockets and looks cleaner,” Eliot Maldonado stated. “When the knife is closed, the tab doubles as a guard, but it is still short enough so that it does not ‘ouch’ your finger when closing.” His flipper employs a tanto blade of Moku-Mai by Baker Forge Steel and a marbled-carbon-fiber handle and Micarta® bolsters. Closed length: 4 inches. (Image: SharpByCoop)

Eliot Maldonado of Bulverde, Texas, started his custom knifemaking career making slip joints and then saw an opportunity. About 15 years ago, he had helped knifemaking friend Alan Davis work with slippies, and Davis assisted Maldonado with linerlocks in turn.

“Soon after, and knowing the function of linerlocks, I experimented with flippers,” Eliot explained. “It was a successful outcome and the passion for flippers started.”

Eliot’s flipper in Baker Forge damascus, a Micarta® bolster, and a marbled carbon-fiber handle demonstrate his appreciation of the finer points in the endeavor. His use of materials has also progressed from the early days. Back then he used basics just in case something went wrong. As he has become more proficient, upgrades to higher-quality blade and handle materials followed.

“I also started changing up patterns, those patterns that appealed to me,” Maldonado said, “like, I enjoy making folders with a classic kind of western—cowboy—look but still make more traditional tactical-type flippers as well.”

Eliot pays special attention to the flipper tab, applying a technique that enhances the action of blade deployment.

“Of course, the use of bearings changes the game when it comes to flippers, and I like a shorter tab with a checkering or ridge for traction. I feel having a shorter tab is easier on pockets and looks cleaner. When the knife is closed, the tab doubles as a guard, but it is still short enough so that it does not ‘ouch’ your finger when closing.”

Eliot is a firm believer in the assertive action of a flipper folder, and he makes no apologies for being a purist.

“I believe a flipper should snap to open position when flicked by a finger,” he related. “Anything other than that is just not acceptable to me. The way I achieve that is by using caged bearings, stop pin position, the liner relief cut, and the perfect tolerance on the blade and back spacer. The result should be a fast opening with zero blade play and strong lockup.”

Todd Rexford – Florissant, CO

Todd Rexford’s futuristic flipper folder features a stainless damascus blade and a handle of DarkTi zirconium and titanium overlays. The overlays extend into the inside of the frame, while the mechanism features an inlaid lockbar and detent pin. Closed length: 4.6 inches. (Image: SharpByCoop)

The flipper folder genre has changed since Todd Rexford of Florissant, Colorado, began his journey some years ago. He credits demand as the catalyst for focusing his creativity on flipper folders.

“They were in their infancy when I started making them,” he commented. “There were some very good makers doing it, but back then the thumb stud still ruled the folder world. It was really my customers that wanted me to start making them, and I had ideas for my own flippers as well, for what I wanted to see and what the way forward was for my knives.”

The way forward for Todd is clearly indicated by a fine flipper folder of stainless damascus with a handle of DarkTi zirconium and titanium overlays. The overlays extend into the inside of the frame, while the mechanism features a hardened stainless pivot, inlaid lockbar, and detent pin with the Rexford radius bearing system integrated. A titanium pocket clip and back spacer complete the stunning package.

Todd sees the operation of the flipper folder as a critical element of the overall presentation, but hesitates to favor fully opening vs. more of an assisted movement.

“I don’t judge,” he offered. “If a wrist snap is needed, then so be it. We can’t forget that when I make a stiff-detent lockbar flipper, you won’t be able to open it slowly. It will open with authority and everyone around you will hear it. This goes to show that each detent force has its own place depending on the end users and their task requirements.”

Nonetheless, the smooth operation of the flipper folder is a hallmark of a successfully completed professional effort.

“The detent force, and how much preload you can place on the system before it overcomes the detent, is one factor that determines if the knife will fully open or not,” Rexford asserted.

“The other factor is the person and his or her finger,” he continued. “Through my years of building flippers, I’ve built everything on the spectrum of this force. Take a stiff detent to a show and half the people love it; half the people can’t open it. I’ve had users time some of my very fast knives in a pseudo drag race using camera-frame timing because they love it, but for a lot of people they may not be able to open that knife. At the end of the day it’s a preference, and I have stopped ‘standardizing’ my force. Yes, a flick will open the knife, but the velocity of the tip may change to suit different customers.”

The Skiff Family – Broadalbin, NY

The Culprit flipper folder by Steven Skiff, Jr. and Sr. won Best in Show at the 2022 NCCA Show. The blade is Damasteel stainless damascus in a Fafnir pattern. Closed length: 4.25 inches. The makers’ price for a similar knife: $1,495.

The father-son team of Steven Skiff, Sr., and Steven Skiff, Jr., from Broadalbin, New York, collaborates to make their own bold statement in the flipper folder realm. While Steven, Sr. makes the blades and does fit and finish, Steven, Jr. handles the CNC milling and produces blade bearings for the Skiffs’ projects, as well as bearings for other customers in the knife industry.

The Skiffs enjoy tackling the relative intricacy of flipper folder construction and relish the opportunity to demonstrate their proficiency, particularly with their team approach.

“Making flippers is a challenge,” Steven, Sr remarked. “They are deceptively simple looking to make. It can be difficult to get the action exactly the way you want. It’s that challenge that I enjoy and it makes me prefer making them over other knives.”

The Skiffs’ Culprit framelock flipper folder features a blade of Damasteel stainless damascus in a Fafnir pattern, and a titanium handle with zirconium accents and seafoam anodizing. The result is dazzling, and Steven, Sr. credits custom knifemaking greats Andre Thorburn, R.J. Martin, and Kirby Lambert for “having a hand in increasing my interest to continue making flippers.”

The flipper construction process has progressed in the years since the Skiffs began to concentrate on the style. One aspect of that progress is the addition of an over-travel stop.

“That’s an example of one important advancement that [a number of] us makers started using on framelocks a while ago,” Steven, Sr. observed. “Another advancement includes the evolution of using bearings instead of thrust washers, and we also use a hardened insert in the lockbar to prevent wear.”

The Flipper Folder Continues To Grow

The firm foundation of the flipper folder, both in popularity and mechanical and aesthetic quality, sets the stage for the future.

“I do predict we will see further refinement in materials, as well as in material quality over the coming years,” Rexford assessed. “We have also seen new locking mechanisms being adapted for the flipper category of knives.”

Maldonado looks ahead to “future advances in making a double-action flipper/auto. Of course, using new and exotic blade and handle materials is always something that keeps evolving.”

Future generations of collectors and users come to mind with Thornburg’s ideas of tomorrow. He commented, “I like to use materials that are not common when making my flippers. Mammoth, walrus and elk antler are my main scale materials, and my idea is a fine gentleman’s flipper folder for the upscale customer that will be handed down to their children.”

Altogether, the custom makers and their colleagues are doing their part to ensure that the flipper folder has staying power.

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Bad And Beautiful

Pat Covert

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October 19, 2022

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Few Patterns Are As Stunning And Audacious As Daggers And Fighters. These Four Makers From Around The World Show What Elite Craftsmen Are Creating Today.

Knives with attitude always have been popular among many makers and cutlery enthusiasts, and, if you’ve ever been to a BLADE Show, chances are you’ve seen some eye-popping examples. Many have in-your-face themes, with daggers and fighters getting lots of love among them.

Wardog Fighter By Samuel Lurquin

If Samuel Lurquin’s Wardog Fighter looks familiar, that’s because it is—it served as one of three cover knives for the June BLADE®. However, due to space requirements, we were unable to give the knife its just due in that issue, so we correct that oversight here.

Sam is an ABS master smith from Belgium who makes bullet-proof tactical fixed blades ticketed for extreme “rough ’n tumble” use beyond the call of duty. Sam’s English is somewhat limited, so we turned to Dave Ellis, proprietor of Exquisite Knives, who specializes in upscale cutlery from around the world. Dave is California’s first ABS master smith who has since retired from hammering steel to become a purveyor of fine custom knives. Dave’s overview of the Wardog is insightful.

“Sam’s combat knife was designed to be very concealable, nothing flashy that sticks out! Twenty years discussing the needs of end users helped him design a knife to be used hard in the field,” Dave observes. “Rather than taking credit for the knife’s design, Sam instead deferred to the many experts when it came to ergonomics, concealment, and design to ultimately come up with this sleek fighter.”

The beefy clip-point blade is 7.5 inches to go with the 5.3-inch black G-10 handle.

“I asked Sam if he considered this to be the perfect combat/field knife,” Dave states. “His response was quite sincere. He said, ‘There’s never just one perfect knife.’ Use dictates the design of each piece, and this design Sam hopes is one that he could stake his own life on. This is very important to Lurquin—that if all else fails, his knife will prevail.”

Dave explained the Wardog’s finish process: “The blade was sand blasted then cold gun blued. The bluing produced a forced rusting [patina] that Sam removes with steel wool. The blade is stonewashed for the final finish, one that will stand up to hard use.”

Sam designed the thick, all leather sheath and had his friend, Jeremy Guillaume of 8 Ball Leather, make it. “It’s double welted and has double latches to keep the knife secured on many media—belts, backpacks and the like,” Dave concludes. “Sam felt that Kydex is too noisy, thus the use of leather.”

Commando Dagger By Joe Israel

Joe Israel offers his Commando Dagger with the smaller Shrike EDC knife. A big fan of the Fairbairn-Sykes dagger of World War II fame, Joe patterned the handle on that of the F-S classic. The Kydex sheaths are by Harry Savage.

One of this issue’s cover knives, Joe Israel’s Commando Dagger is born out of Joe’s intense fondness for the armed forces knives with a double edge.

“I’m inspired by all the great military daggers like the Case V-42, Fairbairn-Sykes, Gerber Mark II—these knives have always fascinated me,” he observes. “I wanted to create something both beautiful and a bit sinister which, after all, is what I think daggers are.”

Though very stylish, Joe’s knife is meant to be used.

“For the Commando Dagger, I start with 3/16-inch CPM 154 stock that I flat grind by hand and heat treat myself, including a liquid nitrogen cryo. The blade is 6 inches long and the overall length is 11 inches,” he states. “It’s then hand sanded to 3,000 grit and mirror polished.”

The blade is sharpened on both sides. If the curvaceous handle smacks of a certain famous World War II combat knife, it is purely intentional.

“I always loved the shape of the Fairbairn-Sykes handles and I try to emulate their elegant shape in my Commando Dagger,” he comments. “The knife is full tang with a brass guard that I pin and solder in place old-school style.” The scales are black linen Micarta® with blood-red G-10 liners secured with brass pins.

Joe supplies his knives with no-frills, all-business black Kydex sheaths, and also offers them in leather. “Harry Savage makes the sheaths for the daggers and he’s just great to work with,” the maker opines. “His work is always top-notch. The small knife in the picture accompanying this story is my Shrike EDC. It’s available in a variety of steels and handle materials. I offer Kydex and leather sheaths for my other knives, too.”

The Toothpick By Matthew Roberts

Matt Roberts chose ladder-pattern damascus for his Toothpick dagger because it complements the symmetrical blade profile, and the coffin-handle design for its simplicity and flowing lines.

Matthew Roberts is an ABS journeyman smith with a passion for forging.

“I modeled the Toothpick after the Gold Rush daggers and Arkansas toothpicks of the 19th century,” he explains. “I have no knowledge whatsoever of historical knives and their dimensions. I made this because it looks vicious. Utility was an afterthought for this build.

“I forged the blade from 15N20 and 80CrV2 steels,” he continues. “I chose ladder-pattern damascus because it complements the symmetrical profile. The blade geometry is very acute with a full distal taper—the point is ground to near zero.” The Toothpick has a 7.25-inch blade length and is 12 inches overall. The blade is 1.2 inches wide at the widest and has about a .165-inch maximum thickness.

Matt chose a coffin handle design for its simplicity and flowing lines. The radius of the handle profile mirrors the blade profile. The handle material is African blackwood that Matt faceted heavily.

“Blackwood seemed to be an appropriate choice because I wanted the blade to be the focus of the piece,” he notes. “Also, blackwood is a very heavy wood which helped bring the point of balance well into the handle.” The guard and spacer are 416 stainless. The spacer fluting is mirror polished.

Matt chose a simple sheath to reflect the clean lines of his dagger. “It’s buffalo hide over bridle leather,” he states. “The hide has a matte finish and is very soft.”

Coffin Dagger By Julian Sacco

Julian Sacco’s Coffin Dagger features a W2 tool steel blade made via the stock-removal method and an unusual smoky hamon he chose for an “ominous feel.” The African blackwood handle is configured in what the maker calls an “old-school-coffin” style.

Julian Sacco’s dagger redefines the word sleek—and that only begins to describe the distinctiveness of his take-down-construction Coffin Dagger.

“The inspiration for this piece came from seeing a lot of other makers do coffin-style bowie knives,” Julian relates. “I felt a shape like a coffin would fit really well on this dagger, as it’s an entirely mirrored piece all the way around. Essentially I wanted it to have an old look and feel to it and I think the coffin style fit that profile perfectly.”

The blade is ultra-slim and has a notable hamon.

“The blade is W2 tool steel and is done in the stock removal method,” he notes. “I don’t have much experience with hamons but, as per the theme of this dagger, I tried to create a smoky pattern to give it an ominous feel.” The knife has a 7-inch cutting edge and is 13 inches overall. “I wanted this to be more of a nimble and easy maneuvering piece,” Julian states, “somewhat like a stiletto dagger, but not quite.”

The grip’s modified wasp waist exudes creativity as well.

“The handle is shaped entirely to look like an old-school-style coffin, which I think it resembles quite well. I wanted to have an aggressive look to the overall construction, which is why I shaped the pommel with such sharp lines,” he remarks. “To match the guard I kept those similar shapes and lines on the outside while smoothing the areas that would be gripped in order to make it comfortable for the user. The brass pommel and guard were an excellent choice as I knew they would patina in a way that would fit the overall rustic look and feel I was going for, while the African blackwood handle complemented that look exactly how I hoped it would. It perfectly fits the profile of an old coffin with its rich lines and bold grain, tying the entire theme of the piece together.”

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We Take A Look Inside The Shop Of ABS Master Smith Steve Schwarzer And See How He Makes His Mosaic Damascus Wonders

Inside Steve’s Shop

Steve Schwarzer’s Forges

Mosaic Damascus Can Be Made Numerous Ways, And These Master Smiths Are All Putting Their Own Spin On The Craft.

Kelly Vermeer-Vella

Jack Rellstab

Will Stelter

Brent Stubblefield

As The New Generation Of Knifemakers Begin To Hone Their Craft, The Masters Of Today Help Guide Their Path Forward.

Pride In Teaching Younger Smiths

ABS Program

Bladesmith Kit #1

Stimulate And Create

Custom Flipping Folders Are Becoming More And More Popular By The Day. These Are Some Of The Coolest Custom Flippers.

Dan Thornburg – Albuquerque, NM

Eliot Maldonado – Bulverde, TX

Todd Rexford – Florissant, CO

The Skiff Family – Broadalbin, NY

The Flipper Folder Continues To Grow

Few Patterns Are As Stunning And Audacious As Daggers And Fighters. These Four Makers From Around The World Show What Elite Craftsmen Are Creating Today.

Wardog Fighter By Samuel Lurquin

Commando Dagger By Joe Israel

The Toothpick By Matthew Roberts

Coffin Dagger By Julian Sacco

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