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Knifemaking

Knifemaking is the building of a knife, which includes the blade, handle and other accouterments. Blades are made by either removing metal from a steel blank via a grinder – known as stock removal – and the forging to shape of hot steel into a blade in the process known as bladesmithing. Other parts, including bolsters, guards, pommels, etc., are needed to complete the finished knife.

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The Hamon: What, Where, Why and How

Steve Shackleford
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The Hamon: What, Where, Why and How

To those who appreciate the tempered steel of a Japanese sword, the hamon is visual evidence of the maker’s effort to produce the finest blade work. In the West, the hamon appears in much the same fashion on Western knives, a blending of culture and craft. Where East meets West on the steel blade, there is the hamon, the graceful temper line.

“From a practical point of view, the hamon is a visible indication of a differentially heat-treated blade,” explained knifemaker Stuart Branson. “In many cases, it’s advantageous to have a harder edge supported by a softer spine in a knife. In this way, you gain the benefits of the good edge retention afforded by the harder edge with the durability of the softer spine region of the blade. In the long and graceful form of the Japanese sword this might seem obvious, but the same is true for Western blades, particularly those hard-use knives or the very popular larger chopping knives.”

According to veteran maker Gary House, the aesthetic effect of the hamon is behind its surge in demand among Western collectors, clearly defining the transition zone between hard edge and soft back.

“The popularity of the hamon on non-Japanese blades today, I believe, is the visual effect of the temper line,” he commented. “The movement and variations of the hamon are very attractive and visually appealing compared to a straight temper line.”

More and more, discriminating knife customers are looking for the hamon on the blades of some of the best-known, iconic Western-style knives.

“‘You will put a little something in the blade, won’t you?’ is a common request these days,” commented Mike Craddock, who started making knives in the 1970s, took a 40-year hiatus, and has come back strong recently. “It doesn’t necessarily make the knife better, but it does look good. I consider it the spirit of the steel.”

Certainly, the hammered and heat-treated steel is expected to be sturdy. However, the quest for the hamon is a classic case of discovering what lies beneath.

“For me, it is the mystery of the hamon,” related bladesmith Erik Fritz. “What shape is it going to take? How much work is it going to entail to bring it out so it can be seen? I think what makes it so special is that each hamon is so different and unique.”

 

PRODUCING THE HAMON

The hamon is there, lying within the reach of the knifemaker who is willing to take the time to thoroughly rub the steel to enhance the elusive line. For some makers, that effort is standard procedure. To them, a blade without this unmistakable flair of the Orient just comes up short. A hamon on Western knives bridges cultures and demonstrates a willingness on the maker’s part to invest the time and energy required.

“Like many, I have always been enamored of the Japanese sword,” Branson said. “The hamon is integral to its design and construction, and although it isn’t necessary that it be brought out to that degree, polishing these swords has been elevated to an art.”

Branson says he attempts to achieve several goals in the production of the hamon. First, he wants to emulate the beauty of the Japanese blade. In the attempt, he learns to see the intricacies of the pattern, theory of design, and the dedication of the artists that have gone before him.

“Producing a hamon is not just adding clay to a blade and hoping for the best,” he reasoned. “It is understanding the steel being used, the temperatures and times needed to achieve your aim, and the amount and pattern of the clay to produce the hamon you are after, the delicate process of heating the blade properly before the quench and, in the case of water quenching Japanese-style blades, the terror and elation of a successful water quench—the violent transformation of the steel into two forms above and below the hamon line, and the resulting curvature induced. One can understand how the swordsmiths approached their craft with a religious reverence.”

 

WATER VS. OIL QUENCH

Producing the hamon involves a process of coating the blade with clay and then quenching it in either oil or water. The water quench is more rapid and therefore potentially more catastrophic should a crack or complete break occur.

“I use clay and white crushed stone,” House noted. “A paste of satanite also works well. The clay insulates the blade from heat and will be a thin layer as it comes down toward the edge of the blade.”

Most makers who frequently produce a hamon opt for such tool steels as W1 and W2, and carbon steels such as 1050, 1075, 1084 and 1095. “Simple carbon steels are conducive to the very fast quenching requirements of a clay-coated quench,” Fritz remarked. “This allows the insulating clay to retard the hardening of the coated areas of the blade. High-alloy steels that allow thorough hardening of the blade are not conducive to the creation of a very active hamon. What you get with the high-alloy steels is more of a straight line.

“With W2 I prefer the water quench,” Erik continued. “With 1084 and 1095 I use Parks 50 quenching oil. Any hamon requires an insulating layer of clay to be applied to the spine. The biggest difference in hamon activity is in the quenching medium, such as water or oil. In my experience and opinion, greater hamon activity is achieved through a water quench. If you are going the safe route and using oil, there is less chance of a catastrophic blade failure.”

Branson said he sees fundamental differences in the hamons produced and the effects of the water or oil quench on the steel itself. On Japanese-style blades, the water quench introduces sori, or curvature to the blade. As the water quenches the steel, the uncoated steel cools quickly while the coated spine retains heat, staying expanded longer and causing the blade to curve downward. As the spine cools, the hardened edge begins to curve upward.  Quenching oils are typically made for industrial use and to prevent deformation of the steel as much as possible. Consequently, the blade tends to curve downward and remain so.

When quenching a blade in water, Stuart added, “The hamon tends to be more cloudlike, more diffuse, and to my mind a little more mysterious and poetic. The oil hamon, however, is more literal, more willing to follow the clay pattern and is more defined on its boundaries. However, the ashi, the wispy lines that come off the main patterns, can be very delicate and defined. Control of this can make for a very exciting hamon.”

The investment of both materials and a significant amount of time impact the cost of a blade complete with a hamon. However, for the maker willing to commit the time and the potential buyer, a genuine value is readily apparent.

“You do have extra work in claying the blade,” Craddock said, “and then there are literally hours of hand rubbing to get the aesthetics right. The steel does what it wants to, but there is a process that you go through. The steel offers it if you are willing to go out and get it. To me, the time involved in the hamon, and about 90 percent of the steel blades I make have them, adds about 10 percent to the cost of the knife—but from the standpoint of hours it should probably be double.”

 

LANGUAGE OF THE BLADE

The hamon brings beauty and satisfaction to the maker and the buyer. Further, it is taking its place among the desired aesthetic effects of Western knives, proving that the world is indeed much smaller when the same language is spoken—in this case, the language of the blade.—BY MIKE HASKEW

What To Look For in a Hamon

 

Discriminating knife buyers looking for a quality hamon should bear a few things in mind. A hamon can be wavy, undulating or any number of shapes. Whatever the shape, it must be well formed, clear and unbroken. What’s more, according to Don Fogg, it must be possible to describe in an understandable manner using a traditional vocabulary.

Erik Fritz advises that a professionally done hamon will exhibit a sharp demarcation between the hard and soft areas. Watch out for a hamon line that dips too close to the cutting edge. Stuart Branson agrees that if the hamon comes close to or reaches the edge of the blade, then a section of the edge is not hardened properly. Levels of refinement in the hamon involve subjective preferences as they relate to clarity and detail.—BY MIKE HASKEW

 

 

How To Obtain a Hamon

 

For more on producing a hamon, see “How To Clay Temper and Obtain a Beautiful Hamon” by ABS master smith Don Fogg in the book, Spirit of the Sword. To order a copy call 1-855-278-0406 or visit www.shopblade.com and click on “Books & References.”

CAPTION FOR PICTURE AT TOP

For his stag “Ferncliff” model, Lin Rhea employs a wavy, cloud-like hamon on the 9-inch W2 tool steel blade. Overall length: 14 inches. (Chuck Ward photo)

 

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91-Year-Old Knifemaker Murray Sterling is Still Going Strong

Dave Rhea
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91-Year-Old Knifemaker Murray Sterling is Still Going Strong

Murray Sterling has seen a lot and done a lot in his 91 years on this earth. For the past 30, he’s made a name for himself as a custom knifemaker. When approached about doing a story for BLADE® that focuses in part on his age, he agreed without hesitation. 

“I’m proud that I’m still here to talk about it!” he grinned. “I love to go out to the shop and do this stuff. I don’t have any real physical ailments and I’m steady enough. I can do just about anything—and I just love doing it. It’s therapy!”

In terms of making knives, Murray seems to be at his best these days. He attributes it all to experience, saying every time he makes a knife, he refines his knowledge base. “I can make 10 knives in a row, and I’ll learn something from one to the other,” he related. “A little different, and a little easier, a little better.” 

Murray made this stag stockman earlier this year.

One of the most interesting things about Murray’s career is that he didn’t even start making knives until after he retired, likening it to “a good retirement hobby.” Machining was his original career choice. He recalled that back in 1947, when he was a “late teenager,” he and his cousin decided they didn’t want to go to school anymore. Murray said, “Let’s go get a job,” and they drove to a nearby tool-and-die shop. “They hired both of us,” he remembered. “My cousin didn’t stay too long but I was there for about four years.”

Flash forward about a decade and Murray had gotten married and started his own machine shop. Being in southern California in the wake of World War II, he found himself doing jobs for big companies like Hughes Aircraft and Northrop Aviation. A typical job was machining hydraulics parts for aircraft such as the DC-7 and, later, the B1 Bomber. His work product spread out across the world.

Pictured: Murray’s dual linerlock folder sports 2 3/8-inch blades of Doug Ponzio damascus, ancient walrus ivory scales and filework. Closed length: 3.5 inches.

“It was all about high quality and reliability,” he recalled of his formative days, and he carried that ethic forward over the following three decades of his successful business. In 1986, he decided to retire, but kept his shop in the family for a few more years. This was about when computer numerically controlled machines were becoming prevalent, so, Murray recalled, he figured it was time to get out of the business. Consequently, he closed up shop and brought some machines home to start making knives.

“I’m an old-school machinist. I started on old overhead belt-drive machines,” he recalled. “When I went out of business, we had some pretty modern machines, but not CNC.”

Murray doesn’t keep it a secret that he’s not a big fan of using CNCs or water-jet equipment, though he understands why makers use them and that the machines certainly make things easier. He explained that in his day all the machines had handles, but the trend continued toward “machines with buttons that can be programmed from 50 feet away.”

Murray’s dual mid-release auto features ATS-34 stainless blades, a 416 stainless steel frame and stag scales. Closed length: 4 1/8 inches.

“When I started working in that tool-and-die shop, there were about six tool-and-die makers in there,” he remembered. “When they came in in the morning, they’d bring out their files, a cup of coffee and a cigarette. It’s hard to imagine how much hand work they did in those days. They had an old lathe and an old mill, but most of the work was done on the bench filing and sanding.” 

As he reflected, he added that he admires some of the “out-of-this-world” knife designs that have resulted with the benefit of computerized, automated machines. “They do fantastic work, no question about it,” he allowed. “The machinery these days makes it much easier. If I was 20 years younger, I’d probably have one!”

FIRST KNIFE SHOW

His journey into the knife world began in 1977, when he ventured into the MGM Grand in Las Vegas for a knife and antique gun show. It was there he experienced his first custom knife show and bought his first custom knife—a coffin-handle folder from BLADE Magazine Cutlery Hall-Of-Fame® member Wayne Goddard. “That was when I got impressed with the work that these guys were doing with the equipment they had in those days,” he recalled.

Murray set out to learn knifemaking in 1989. Along the way, he had guidance and education from a lot of makers, as well as reading iconic books on how to make knives. However, he draws a distinction between that and actually learning the craft. He characterizes himself as mostly self-taught through a lot of trial and error and the determination to put in shop time.  

Murray profiles bolsters on his belt grinder.

“Hollow grinding is not something you can teach somebody,” he explained. “They can tell you how to do it and show you how to do it, but you have to put in the time and learn to get the feel for yourself. You can’t give the feel to somebody.” So, he burned up a lot of gloves, as well as his fingers sometimes, until he finally learned how to do it.

He made fixed blades until about 1991, when he talked to slip-joint master Jess Horn a lot about transitioning to making folders. Murray said that’s when he learned he needed to add a surface grinder to his shop. “I didn’t make really good folders until I got a surface grinder,” he allowed. “I learned a lot from Jess.”

That year, Murray also sold his first knife. By 1995 he had won his initial award—for best folder—at the Oregon Knife Collectors Association Show. He was on the map.

Murray made this stag stockman in 1999. Note the blade mark of his surname in cursive.

Over the course of the ensuing 25 years, he would go on to make and sell a wide variety of folders that runs the gamut of styles and mechanism applications, from traditional multi-blade slip joints to modern automatics and seemingly everything in between. His choice of blade steel is ATS-34 stainless, and a wide array of beautiful damascus forged by Mike Norris, Devin Thomas, Alabama Damascus or Doug Ponzio.

“I’ve never had a lot of luck selling wood handles, so I like a lot of stag, ivory and pearl,” he explained. He also uses acrylic to great effect. When he wanted to start doing inlay, Murray said, he turned to award-winning maker Tim Herman. “I wanted to do inlay and I called him—this must have been 15 or 20 years ago,” he recalled. “I’m still doing inlay the way he taught me, which is the hard way.”

As for mechanisms, he enjoys making several variations of locks including button, front, mid, rear and even dual locking liners. He also makes autos that feature bolster release, button release, mid-release, top release, frame release and most any release imaginable. 

A double-ground damascus blade, a bolster of mokume gane and an ancient ivory handle highlight Murray’s folder. Note his “S” mark on the ricasso.

“They’re hot and cold,” he surmised of making autos. “Two years ago, I sold 10 right off the bat in Atlanta. Then the next year, they cooled off, so I went to something else. Every year you have to come up with something new and stay aware of the trends.”

In fact, the true problem Murray admitted to is, after making knives for 30 years or so, he must continuously come up with something new. Trends tend to go round and round, he explained, so what was hot 10 years ago will go away and then return.

Nowadays, Murray goes to only a couple of shows each year, including the BLADE Show, with his 63-year-old son, Steve, who has started making knives the past couple of years. Murray admits that the shows are getting too long for him and he gets worn out pretty quickly.

“My son goes with me all the time or otherwise I probably wouldn’t go,” he noted. “I don’t go to the ICCE Show”—he’s been a voting member of the Knifemakers’ Guild since 2000—”because it’s a two-day drive and I just don’t think I could handle it.

CHANGING TIMES

When asked about what he’s taken note of as any drastic changes in the industry over all these years, he mentioned few things in particular. One, as mentioned, is the evolution of equipment across the board. “The quality of the knives back in the day was great, but the quality of the equipment today is 100 percent better,” he pointed out. “The gravers, the machines, even the belts you can get today—2,000-to-3,000-grit belts. You couldn’t get that 25 or 35 years ago.”

The other drastic change he’s noticed is the Internet, which he believes changed the industry in terms of selling knives. While the real knife collectors still want to see and know the maker, he’s noticed a lot of impulse buyers on the Web.

Also, he added, “Instead of hundreds of custom knifemakers, today there’s probably thousands of them. They’re using water jets to cut out the blanks and using CNC machines—there’s a lot of production, it seems like. They’re still custom made,” he qualified, “but handmade is kind of going out the window.”

However, as usual throughout our conversation, Murray hesitated to grind for too long on makers who use state-of-the-art equipment, concluding, “There’s a market for everything. High-dollar, low-dollar, mid-dollar—two-dollar knives and two-thousand-dollar knives. There always seems like there’s a buyer today.”

“Hollow grinding is not something you can teach somebody,” Murray explained. “They can tell you how to do it and show you how to do it, but you have to put in the time and learn to get the feel for yourself.” He continues to get that feel on a regular basis in his grinding room.

For more information on Murray Sterling and his knives, contact him at Dept. BL10, 693 Round Peak Church Rd., Mount Airy, NC 27030 336-352-5110 fax 336-352-5105 [email protected], sterlingcustomknives.com.

8 Well-Made Knife Guards

BLADE Staff
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8 Well-Made Knife Guards

Constantly on the lookout for something that will make their knives better and stand out at the same time, many of today’s custom makers don’t hesitate to jazz up the guard.

And why not? A handsome, well-made guard adds to a knife’s looks, and, more importantly, serves as a sure safety feature in helping keep your hand where it needs to be—on the handle.

Above: Brad Millman forged the hammer-finished copper guard of his Wolftooth bowie. The 12-inch recurve blade is a san-mai construction of 360 layers of 1095 carbon and 15N20 nickel-alloy steels for the core sandwiched in a jacket of 1084 carbon steel. The bird’s-beak handle is curly Tasmanian blackwood. Overall length: 18 inches. (Caleb Royer edited image)

 

Above: Wayne Barrett heat-colored the shapely mild-steel crossguard of his 14.56-inch stiletto. The 10.6-inch blade is vintage butcher’s steel by F. Dick of Germany and features a classic triangular grind. The handle is Merino ram’s horn. (SharpByCoop image)

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Above: It’s easy to see how Ryan Breur’s Ball-Guard Bowie got its name. The guard is cast bronze and the handle is flamed white oak with a domed inconel pin. The blade has a sharpened clip and is forged from 80CrV2 carbon steel. (Caleb Royer edited image)

Above: A stylish guard of wrought iron helps put the finish- ing touches on an ancient-walrus-ivory bowie by ABS master smith Tad Lynch. The 11.25-inch clip-point blade is W2 tool steel—a material some leading smiths consider ideal for producing a handsome hamon—and the knife is 16.375 inches overall. (SharpByCoop image)

Above: An upturned guard with a finger ring—each of hot- blued 4340HT steel—and a ladder-pattern damascus blade of 1095 carbon and 15N20 nickel-alloy steels help complete a quillon dagger by ABS journeyman smith Paul Savage. The handle is buffalo horn. (SharpByCoop image)

Above: Black mirror accent balls cap the stainless steel quillons on ABS master smith Kyle Royer’s Maiden Voyage Stiletto. The 11.75-inch damascus blade features an extra-deep hollow grind, a fuller and a reinforced piercing tip. The sculpted, fluted handle is wrapped in 24k-gold twisted wire. Overall length: 17.5 inches. (Caleb Royer image)

Above: The handforged nickel-silver finger guard “with curls” gives a damascus bowie by David Davis a curvaceous look. The 7.25-inch blade is pattern-welded steel forged by Alabama Damascus. Blade finish: acid etched. The handle is stabilized buckeye burl and the spacers/ liners are ebony and bone. Construction: hidden tang. Overall length: 12.25 inches. (Caleb Royer image)

Above: Tyler Turner outfits his coke-bottle-pattern pocketknife with a folding swing guard of 416 stainless steel. The 4-inch blade is CPM 154 stainless steel in a hollow sabre grind and the scales are jigged bone. Closed length: 5 3/8 inches. (SharpByCoop image)

This article is from a previous Issue of BLADE Magazine. Subscribe to a year of Blade Magazine for just $19.99 by clicking here.

5 Leading Sharpening Rods

Dexter Ewing
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5 Leading Sharpening Rods

5 LEADING SHARPENING RODS TAKE THE AUTHOR’S SHARP TEST

The sharpening rod is perhaps the No. 1 kitchen knife accessory in many households. Why? Usually 8 to 12 inches long, it is a hardened steel rod with a coating of industrial diamonds that helps abrade steel and lightly sharpens a  cutting edge. Most models are basic and there’s not much to them. They are more effective than standard butcher-type steels that align the edge and don’t remove material, and are good for regular maintenance of kitchen knives in between professional sharpening.

Accusharp 9-inch

Accusharp offers a 9-inch sharpening steel, model #034C. The ergonomic, rubber overmold handle makes it easy to hold thanks to the non-slip grip. It stores easily in a drawer or hangs from an extra-large handle hole. The guard is round, so the sharpener will roll when you set it down, which can be annoying. It does not come with a container for protection while not in use.

The steel and its fine abrasive in a 1500 grit maintains a blade well. My only complaint is with the soft rubber part of the co-molded handle. The rubber is in a diagonal shape and on one end closest to the guard of the test model, it is visibly raised and you can peel it back a bit. However, if it comes undone, you can easily fix it with a strong adhesive. Country of origin: China. MSRP: $34.99.

TOOTHIER EDGES: Lansky’s Diamond Sharp Stick

The handle of Lansky’s 9-inch Diamond Sharp Stick is a dual-material, rubber overmold for both comfort and durability. Like most sharpening-steel handles, a full integral guard protects your hand from accidental cuts. A split ring affixed to the handle’s end provides for hanging the rod on a hook or nail.

The Sharp Stick has a hard plastic tube that fits over it and secures in place by an O-ring that slides down the rod close to the guard. You can remove the O-ring but you must leave it on to take advantage of the hard plastic tube to protect the sharpening rod surface when stored. The O-ring is positioned far down on the handle to not interfere with operation.

I discovered something interesting with the Sharp Stick. As with all the test models, the grit is fine but the Lansky seemed most aggressive in the cut and produces a toothier edge than the rest. In my opinion this is very good, as I prefer a toothier edge on my kitchen knives, though some do not.

The rubber gripping portion of the handle is textured well, and offers a great purchase with wet or dry hands. The guard is also robust in appearance, as some equate robustness with better quality. That’s not always the case but with this one it definitely is. Country of origin: China. MSRP: $33.99.

Diamond Machining Technology (DMT) DS2F

In my opinion, the Diamond Machining Technology (DMT) DS2F diamond sharpening steel is superior in several ways to the balance of the test rods. The fine-grit diamond-coated model has a red plastic/rubber tip. DMT uses a color-coded system to denote various grits, including red for fine. The tip also helps stabilize the rod on a flat surface. The DS2F ships in a nice, clear vinyl pouch that locks around the guard. The pouch is great for storage.

While the other test models have dual-molded handles that incorporate hard plastic and firm rubber for comfort, the DMT has a hard plastic one. However, don’t turn your nose up just yet. The handle tapers gradually toward the guard, which makes the entire grip fill your hand nicely. There are also five grooves on the tapered part that enhance a secure hold. The guard has four semi-circular cutouts to provide anti-roll qualities, which I really like. The DMT doesn’t roll at all when you put it down. A plastic shackle attached to the handle end for hanging also is color-coded to grit. The shackle can be removed if you desire. It’s creature comforts like these that make the difference between a good product and a great one.

The DMT is definitely a top performer. The 12-inch rod captures pretty much all sizes of kitchen knives. Of all the test models, I felt the DMT produced the finest edge, that is, the edge isn’t toothy or grabby, it’s just plain sharp. The D2SF leaves a nice, refined finish on the cutting edge.

One thing about the handle shape: Since it tapers toward the guard, it forces you to nestle your hand up against the guard when holding it. This stabilizes the sharpener in your hand. When you grip it farther away from the guard, the sharpener isn’t as stable—something to consider. If you prefer holding your sharpening rod, you might want to get the DMT for this very feature. This is just a top-notch, high-end sharpener. Country of origin: USA. MSRP: $53.59.

EZE-Lap Model G

The 8-inch EZE-Lap Model G is the shortest of the test models. The shorter rod allows for easy use as well as com pact storage inside a drawer. It comes in a fine grit to produce a nice working edge in a minimal amount of time. The large-diameter plastic handle has enough girth for a comfortable hold. The integral guard is very much like the DMT D2SF’s, with a non-round shape that helps curb rolling on a flat surface. Well done! An extra-large handle hole promotes hanging for storage.

EZE-Lap’s Model G round-profile diamond sharpening rod is only 8 inches long, which makes it the shortest rod evalu- ated, though that doesn’t mean it is any less effective. The shorter overall length stores in a drawer easily or in cramped quarters such as in an RV.

The thing about a shorter rod like the Model G is you must be quick on the draw when working on longer kitchen knives, such as 8-inch chef’s knives and up. Compared to 10- and 12-inch rods, you’re losing real estate to work from and must pull the blade across the length of the Model G quicker. For shorter blades, this should not be an issue. On the other hand, the smaller size is ideal for camping, traveling in an RV, etc.

The Model G ships in a stiff paper sleeve, which can be reused to protect the rod as well as other items stored near/by it. The sharpener felt very coarse to the touch out of the packaging. All diamond sharpeners do. As you use them they will smooth out, though this has no bearing on performance, and performance-wise the EZE-Lap does very well. Country of origin: USA. MSRP: $31.95.

Work Sharp Culinary M3 Sharpener

The Work Sharp Culinary M3 sharpener takes the basic diamond-coated steel rod sharpener and improves on its function by offering choices. The M3 comes with not one but two rods—coarse-grit steel with a diamond coating and a fine-grit ceramic rod. Both rods interchange with the included ergonomic handle and are secured in place by strong magnets.

The 8.25-inch steel rod tapers gradually from handle to tip. At the end of the rod is a rubber button, which helps stabilize the sharpener when the end is placed on a table or countertop and the handle is held with one hand. It sounds like a typical steel rod until you get to the handle.

Instead of the standard integral, flared guard is a pair of ramped surfaces that serve as angle guides. When you hold the sharpener upright, place the side of the blade on the rod and rest it against the ramped surface. Then, with the standard motion using a rod sharpener, travel down the rod, holding the blade at the preset angle. Bring the opposite side of the blade to the other side of the rod and repeat. The gripping part of the handle is firm-textured rubber, and a thumb divot on the end helps stabilize the sharpener in use.

A little “MicroForge” slot in one of the guides contains a small yet wide serrated wheel. After you get a sharp edge, remove the rod from the handle and place the end of the handle on the table, in similar fashion to how you were sharpening. Place the blade in the slot at the tip. With light pressure, push the blade through until the handle gets to the tang, then stop. The serrated wheel will crimp the edge slightly, forming tiny and evenly spaced micro serrations. The serrations act like bigger serrations found on other kitchen knives. Using the MicroForge feature is not mandatory, but it is designed as an additional function to help provide the longest-lasting edge possible.

The steel rod cuts fast to restore dull edges. It provides a working edge in a minimal amount of time. Follow up with the fine ceramic rod after the edge has been established to refine it further. The ceramic rod’s smooth and fluted sides give a choice of edge finishes: a bit more bite with the latter and a more polished edge with the former.

The M3 ships in a sturdy cardboard box, the sharpener parts store inside a tray, and the tray slides into the box. The steel rod has a protective plastic sleeve, too. It is the most comprehensive of the test lot. Country of origin: Parts sourced globally, U.S. assembled/calibrated. MSRP: $69.99.

HOW TO USE A ROD

No matter the brand or model, sharpening steels are used the same way. Most manufacturers recommend using one while standing at the kitchen counter or seated at a table.

Take the sharpening steel and place the tip on the table, held upright with the handle at the top. With one hand, grasp the handle firmly, keeping it perpendicular with the flat surface at all times. With the other hand, grasp the knife handle and place the blade at a 20-to-30 degree angle in relation to the sharpening steel. Place the blade as close to the guard as possible, set to start at the part of the blade closest to the tang. In one motion, move the blade down the length of the rod while at the same time draw the blade fully across the steel. When you near the flat surface you are working from, though without touching the surface, you should be at the blade tip.

Raise the blade to where you started from, switching the blade to the opposite side, then repeat the same stroke. Then, return to the side you started from, and repeat once again. Do an equal amount of strokes for both sides of the blade.

As you become more comfortable using the sharpening steel, you can forego the flat surface and hold the steel with one hand similar to how you would a large kitchen knife. With the other hand, place the blade on the rod at the recommended 20-to-30 degree angle and lightly push the blade across the rod, ending at the blade tip. I highly recommend you not proceed to this step until you are confident enough, because with this alternate method chances for not holding the angle correctly is greater.

Whatever method you use, remember to always use light strokes. There is no need to bear down on the blade with pressure. Let the rod do the work.

Intermediate Forging: Blending the Old with the New

Lin Rhea
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Intermediate Forging: Blending the Old with the New
BY LIN RHEA ABS MASTER SMITH
Blending the old with the new sometimes can yield notable results.
It’s been said there’s nothing new under the sun. I might add that new ideas in knifemaking are rare. I do not claim the technique I am about to share is new because that could start the story off on the wrong foot. On the other hand, I will say I have not seen it done in the context of making knife parts. Comparisons can be drawn to particular cultural techniques, and I encourage that in the name of inspiration. Speaking of, that will be the purpose of this discussion—inspiration. I have been fortunate to have had several sources of inspiration, not the least of which is my time and training in historic blacksmithing. One of the guiding principles of the early blacksmith was practicality. You will end up being the judge as to whether or not this technique is practical or not for your purposes. I will try to show how blending the old with the new sometimes can yield unique results that can be beautiful as well as inspiring.  I call the technique intermediate forging. I chose the name to imply it involves a mixture of old and new techniques within the same process in order to accomplish the task. It can involve forging—the old—as well as the new via the use of modern tools such as grinders, saws, etc. The particular order of the use of the techniques is at your discretion as well. In other words, you may forge, then saw/grind, then forge more before, perhaps, grinding again and finishing or polishing.  Intermediate forging can be used on blades or integral parts of blades. This may be where it is easiest to see and accept the possibility of enlisting the technique. I’m sure you may have seen the need to return to the forge to refine or make corrections in order to improve or actually save a project. It’s often viewed as a concession or acknowledgment of defeat if you must return to the forge for corrections. I now present to you the possibility of pushing aside the puristic view and actually using the intermediate forging technique as part of some projects, and opening up new combinations of techniques for new looks. The HANDLE SPACERS One way in particular I have made changes in the look of my knives by intermediate forging is on the handle spacers. The accompanying photos and descriptions pertain to how I set up and mix the techniques of old and new to arrive at a unique process with almost endless possibilities. I show the progression of one project along with a finished photo, and then some other examples of variations of the technique. I use stainless steel for the spacer, though mild steel or other forgeable materials would work as well. I start with three layers, leaving the middle layer proud by a chosen margin according to my plan. Note: I often “lean” the guard and spacer forward. This creates the need to provide a fake middle spacer that will be discarded after the outside spacers have their inclination established. I then insert the actual middle spacer and leave it proud for the subsequent steps. 
The author used his intermediate forging process to make the handle spacer for his S-guard bowie. (Whetstone Studio image)
YOU be THE JUDGE As noted, you must be the judge as to whether intermediate forging is for you. I’ve found that the results are worth the extra effort it takes to accomplish my intent. Also, while steps in this process are examples of workmanship of risk*, the risk is usually limited to an individual part of and not the whole knife. I’ve also found that risk itself adds intrigue to the project, and intrigue attracts the curious. Of course, as with a movie, risk and intrigue are good when the ending can be written with a predictable result. Hence, intermediate forging also needs to have predictable results. I can say that it certainly has for me. *Workmanship of risk refers to a principle found in the book, The Nature and Art of Workmanship, by David Pye. For more information, contact Lin Rhea, Dept. BL11, 413 Grant 291020, Prattsville, AR 72129 870-942-6419 [email protected], rheaknives.com.

Forged in Fire: Gimmick, Inspiration or Both?

Dave Rhea
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Forged in Fire: Gimmick, Inspiration or Both?

THOSE WHO KNOW DISSECT TV’S LONG-RUNNING FORGED IN FIRE

Bladesmithing enjoys the same treatment as motorcycle building got in the mid- 2000s—that is, it has become a well-established reality show competition on cable television. Such treatment has ups and downs regarding its effect on the knife industry. Be that as it may, History Channel’s hit show, Forged in Fire, has been on the air for seven seasons, which proves its staying power.

FIF is characterized as both inspirational and gimmicky depending on who you ask. And ask we did—two contestants, a former FIF guest judge and a member of the board of directors of the American Bladesmith Society—with the goal of shedding light on where the hit show lands on the spectrum between the two.

At 19, Josh Smith was the youngest smith to ever achieve ABS master smith status when he did so in 2000. He has appeared on two episodes of FIF. (Brandon Horoho mage)

The long-running TV competition undoubtedly has been an asset to the forging community. For starters, it has introduced the general viewing public to a cast of characters that constitutes a realistic cross section of the knifemaking community. While its list of participants is far from a comprehensive Who’s Who of bladesmiths, one would be hard-pressed to spend more than an hour at the next BLADE Show without encountering a first- person recollection of pounding steel on the small screen.

More important is the awareness such publicity has brought to the craft, according to J.W. Randall, veteran ABS master smith and winner of FIF’s 2017 international championship (season four, episode 19). “It’s brought the public’s awareness around to hand- crafted items, and that’s a good thing,” Randall observed. “It appeals to a lot of people because it’s an old craft, and it’s been brought back, in a sense.”

Indeed, the fiery furnaces easily translate into a burning interest among many of the show’s viewers. For them, witnessing the process of manipulating steel into a knife, sword or axe using fire, a hammer and other assorted machinery and instruments, while facing the adversity of time constraints and random surprises, is at once exciting and inspiring.

ABS master smith J.W. Randall holds his spadroon sword, the one he made to win the International Competition episode of FIF. At left is “Dan the cameraman.” (Tammy Randall image)

“The men and women who compete on this show are engaging in an arena of gladiators,” described ABS master smith Jason Knight, B.R. Hughes Award winner and guest FIF judge during portions of seasons three and four. He agreed that the show’s primary value lies in inspiring its audience to appreciate, and perhaps pursue, a craft that ties together history, art, science and technology from an ancient world. “It’s important in our culture,” Knight added. “People like me hold fast to it, and I want to share it as art.”

Such interest has had a measurable effect on ABS membership, according to ABS journeyman smith, board member and treasurer, Bill Wiggins. “I don’t know what to call it,” he pondered. “It’s not a spike—I’d call it a steady rise in membership since the show started.”

An ABS journeyman smith and treasurer of the ABS, Bill Wiggins said the ABS has enjoyed a steady rise in membership ever since FIF’s debut episode seven years ago. (image courtesy of Bill Wiggins)

He added that the ABS has also seen a lot more turnover lately, with people joining up for a year only to never be heard from again. “We’re still gaining members, though,” he allowed. “There’s good and bad, but the good outweighs the bad.”

“The bad” is definitely part of the mix, according to the story’s sources who were contestants. Though none had the proverbial sour grapes about their FIF experience, the recurring caveat was that good television producers have one goal in mind, which is producing good television—and that doesn’t necessarily translate into total satisfaction for the contestants.

One way to achieve “good television” is to introduce drama. Thankfully, according to Josh Smith, a two- time FIF contestant and the youngest person ever to earn an ABS master smith stamp at 19 in 2000, it didn’t include any typical reality-show-style infighting on the set.

“Everybody needs to realize that they’re trying to make an entertaining TV show, and I think they do a good job,” Smith explained. “The clock provides the drama that they need instead of drama between the contestants.” He added that Mareko Maumasi, his competitor and winner of the “Judges’ Pick” special episode (season four, episode one), is now a good friend. “We didn’t have to become enemies!” Josh emphasized.

Unanimously, those interviewed who appeared on FIF maintained that the contestants should be better paid. “If you’re not sure if you do that show that you’ll be able to make your house payment, don’t do it,” advised Josh Smith, here admiring a red-hot billet in his shop.

TIME TELLS

Regarding the clock, each bladesmith is presented with strict time constraints— typically three hours to forge, grind and heat treat a blade, followed by a round of judging. In a second round, they have three hours to finish and handle the blade, followed by another round of judging.

“Three hours is a totally unrealistic timeframe,” Randall said. “That’s what makes the show interesting. Everything is stacked against you from the front, and that’s just a critical-thinking-and-an- overcoming-adversity deal. If you realize you’re backed into a corner, you have to adjust and come up with something to overcome it to gather yourself some time back on that clock.”

J.W. wipes down the spadroon sword in his shop. Of FIF he said, “It’s brought the pub- lic’s awareness around to hand-crafted items, and that’s a good thing.” (Tammy Randall image)

“A lot of these contestants have no experience, and it’s very entertaining to watch someone who doesn’t know what they’re doing get out there and forge a blade with unknown material,” Knight added. “It’s like throwing them to the beasts. It’s very gladiatorial and can be catastrophic. A lot of people will win by default because competitors will push themselves to the edge or get a bad choice in some garbage materials.”

Jason (left) and his fellow FIF judge, Doug Marcaida, deliver looks that “will keal” at the Winkler Knives booth during the 2018 SHOT Show. (image courtesy of Shelly Knight)

He emphasized that the use of questionable materials adds a dramatic challenge to the mix, and during his time as a judge, Knight would advise the show’s producers on what to make available. “They have no idea about metallurgy, chemistry, physics or any science,” he remembered. “Their job is to produce content, and they have license to do whatever they want because it is entertainment. It’s good television but it’s not good bladesmithing.”

During a third portion of the show, makers have five days, or 40 hours, at their home shop to produce another more elaborate project.

Knight likened the whole production to a television game show made to entertain rather than inform viewers of the actual forging process. “You shouldn’t watch Forged in Fire with an expectation of learning how to forge blades,” he said. “That isn’t what the show is about.”

He should know, as he said he and his wife, Shelly, created the original premise. Before Forged in Fire was ever conceived, Battle of the Bladesmiths began as an ABS competition. “In 2010, Bill Wiggins asked ‘Hey, what could we do at a hammer-in that would be more fun?’” Knight recalled. “Shelly got the idea from Iron Chef. She said ‘What if you did a competition where you have unknown materials, a limited amount of time and you have to make a knife that works?’”

“Jason approached me about doing Battle of the Bladesmiths at the Haywood Hammer-In,” at Haywood Community College in Clyde, North Carolina, Wiggins confirmed. “He won the first one, and since then it has become a yearly event.”

Flash forward to 2014. Knight also competed in and won the first-ever, never-aired pilot episode of Forged in Fire. “I’m glad to have been a part of the founding legacy that no one knows about,” he laughed, adding that he also advised the content producers on 12 of the episodes but remains unlisted as a creator. “I wouldn’t do the show again unless they paid me what I want to get paid,” he added. “What I want to do is what I’m doing. What I want that show to be, it can’t be.”

Smith, who competed on the show twice (including season three, episode five) but never won, said if he could change something about the show, it would be an opportunity to explain the knife project to the judges. “Instead of just handing the sword over to the judges, give me two minutes to talk about it,” he said. “I would have educated those guys about details that otherwise they wouldn’t notice with a cursory glance. I think it would have made a difference.”

He feels like he got a raw deal with his Kora Sword, in which his mosaic damascus was oriented so the pattern lined up, made with all take- down construction and blind-pinned together. “It’s a lot of stuff that no one on TV knew,” he noted. To his credit, changing the rules to allow non-winners to get their knives back was a prerequisite for his return to the show.

Randall said editing was an aspect that bothered him. “I want to be represented for who I am. I don’t want television to modify me and make me be somebody that I’m not,” he said, referring to being “bleeped” twice during his episode when he did not use profanity. “I don’t want to be seen by the world as that guy. That’s not who I am and what I want to represent, and it bothered me.

J.W. and Argentina’s Guillermo Mendoza (left), the two contestants in FIF’s Inter- national Competition, enjoy a reunion at a past BLADE Show. (Tammy Randall image)

“And more so in my closing remarks,” Randall added regarding the editing. “I gave God the credit and the glory at the end of this deal, and I also gave our military a bunch of credit for providing the freedom that we should never take for granted. That all got omitted. Represent people accurately for who they are and what they are.”

MORE JACK

Unanimously, those interviewed who appeared on FIF maintained that the contestants should be better paid. The $10,000 prize, which is only administered to the winner, isn’t enough compared to the month it takes the maker away from his or her work. For non-winners, it is a big financial hit to walk away with nothing. “If you’re not sure if you do that show that you’ll be able to make your house payment, don’t do it,” Smith advised.

“It’s like rolling the dice,” Randall proclaimed. “For me, it’ll take $25,000 to get me back. They’re cutting a fat hog, partner. That producer is making money hand over fist. They asked me to come back and I told them I’m not leaving my shop for 10 grand when I can make more money staying in my shop. Why would I roll the dice and potentially come up empty and lose a month of income?”

Overall, each source in the article was gracious in his comments about Forged in Fire, often reiterating that the drawbacks are tied into the fact that it is a television show. The point is to be entertaining, and it comes at the expense of some grievances about how it should be produced. They unanimously agreed that the most important effect is that it has enlightened and inspired millions of people regarding the craft of forging and knifemaking.

For the latest knives, knife news, trends and more visit blademag.com, BLADE®’s popular Instagram page @blade_ magazine, and on Facebook and Twitter.

Using Children’s Modeling Clay to Design Mosaic Damascus

Joe Szilaski
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Using Children’s Modeling Clay to Design Mosaic Damascus

Most beginning bladesmiths can hardly wait to forge out their first damascus blades. Making damascus is challenging and exciting, especially when you advance enough to try and create the more complex designs. I still enjoy the challenge forging intricate mosaic damascus patterns, and especially figuring out how to make new ones.

I also enjoy teaching and passing down whatever knowledge I have collected over the decades. So, in 2008 I opened a knifemaking school in Pine Plains, New York. Most of my classes are based on the forging technique.

The most exciting thrill of teaching is watching a few of my students advance to become competent bladesmiths in their own right. I can honestly say I have met a lot of very nice, talented folks over the years at my school. Some just want to be hobbyist or part-time makers, and others hope to one day become full-time knifemakers.

Tips for making mosaic damascus
Greg Cimms forged the blade for his chef’s knife of multi-bar mosaic damascus in a pattern originally worked out in clay. (Caleb Royer image)

They are talented bladesmiths who have been doing incredible work so far. These gents have only been making knives a couple of years. They have learned the proper way to forge and forge weld and have made some nice damascus. I knew they were ready for the next challenge making more complex damascus. I decided it was time for me to hold a more advanced multi-bar mosaic damascus class for them.

The class was four days. On the first day we went down to the shop and I explained what multi-bar mosaic damascus was and how it is made. I also explained how powdered mosaic damascus is made, though it is a completely different process.

The Problem: “Shooting in the Dark” with Mosaic Damascus Designs

While we were sitting around the table I gave everyone a box of different colored clays. Some thought I was making a joke with the clay until I showed them some of the damascus patterns I had made. Some of those clay designs I made in the early 1990s.

how to make mosaic damascus knives
Bill Greulich followed the same steps he used to develop his pattern in clay to forge his first billet of multi-bar mosaic damascus.

Back then I was working in an art foundry full time pushing a lot of hours, so I had very limited time to forge my knives and tomahawks, never mind work out new damascus patterns. At night I would work out damascus designs on paper. The weekends were often spent working hard at the forge making damascus from the paper designs.

Unfortunately, many times when I finished the mosaic damascus billet, even though some did turn out to be nice patterns, they were not quite what I wanted. Basically, when you work out designs on paper, at least for me, I felt I was shooting in the dark without night vision. I knew I had to find some answer or solution to my problem.

The Solution: Kids’ Modeling Clay

While I was thinking what would be the best solution, the answer was right in front of me. I was working on a sculpture using red and yellow wax, and that is when it occurred to me. I started cutting off a few slices of red and yellow wax and made a billet out of it. I folded, twisted and so on as I would do with steel. While the wax was not so pliable in the cold form, it still gave me the idea of what I had to do.

Mosaic Damascus knife
Greg Cimms forged these two blades from a billet he designed and made in the author’s Advanced Damascus class.

The next day during lunch break I ran out to the arts and craft s store and bought two boxes of multi-colored clay, the kind kids used to play with or use at school. I was very excited for my new finding and anxious to see how well it would work.

I made my first multi-bar mosaic clay billet that turned out better than expected in allowing me to preview the mosaic damascus designs. Making clay damascus does not mean you will like every pattern you create, but it is still a lot more efficient and easier on the pocketbook than forging all day long to find out the design is not what you wanted.

I could hardly wait to show my wife Lori that I had found the solution to my problem. Over the years, I probably came up with more designs in clay than I would ever be able to forge out in steel.

A Shortcut with a Long History

That is how I got started making clay damascus. I shared this technique with fellow makers. Actually, similar techniques have been done in glass beads for hundreds of years. I have many books on Indian trade beads in beautiful designs.

As kids we used to play with marbles that also had beautiful designs in them. It just never occurred to me to incorporate any of this into my knives.

Making Clay Billets

On the first day of class I demonstrated making a clay billet and explained, step by step, what to do and what to watch for.

Next I showed the group how to take the same starting multi-bar billets, and, by using different arrangements and folds, create two or three different mosaic damascus designs.

As the students started working out their designs in clay, I asked them to write down every step they took: how many layers they started with, how many times they cut the billet, how many times they folded it, in which direction they folded, in which direction they forged, and so on. This written reference is very important if you want to recreate the design in steel.

I got such a kick out of watching grownups having fun with clay, showing off to each other the designs they had created. It reminded me of back when I started making clay mosaic damascus and how excited I was.

That day everyone seemed on a diet because no matter how often I said “Lunchtime!” no one was hungry. Finally, Lori came home from work and we had dinner. At the table the only conversation was which of their designs they would choose to forge out on the second day of class.

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