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.

Featured Knives – – Knife Collecting – – Tactical Knives – – Survival Knives

Custom Cleavers That Have Culinary Chops

Four custom makers push the boundaries of the tried-and-true cleaver.

An inclination toward the kitchen and a desire to design and deliver cutlery used on a regular basis has spurred a number of custom knifemakers to try their skill with the cleaver. It’s a staple in most kitchens and its uses are as varied as the food prepared there.

Robert Wayman of Middleburgh, New York, sees his cleavers as complementing years of food preparation. “I’ve done a lot of my own food processing, and I spent several years in commercial kitchens when I was younger,” he commented. “So, I’ve always had an affinity for culinary knives and especially cleavers. The cleaver is such an iconic blade. I love to make everything from heavy-duty butcher cleavers to medium-duty kitchen cleavers, Chinese cleavers and lighter-duty veggie cleavers for the kitchen.”

Robert’s featured cleaver is 14 inches in overall length with an 8-inch blade of pattern damascus go-mai five-layer steel. The core is a 100-layer random pattern damascus made of 1084 and 15N20 high-carbon steel and a layer of nickel and matching damascus cladding. The handle includes a damascus collar, stainless steel and G-10 spacers, crosscut carbon fiber, green malachite and blue coral accents, stabilized amboyna burl and a damascus butt cap with stainless mounting pins inset with blue coral framed with green malachite.

“I packed a lot into that one,” Wayman smiled. “As a maker, I’m all about sole authorship. I make all of my own high-carbon damascus steel in-house, and a cleaver provides a great opportunity to showcase that steel. One of my favorite things to forge is a large cleaver with an integral bolster.”

Wayman sees large blades, such as those associated with cleavers, as inherently challenging, while making a task-specific blade, such as a cleaver, adds another layer of complexity. Although they are labor-intensive and involve a lot of time in the shop, performance remains the key.

 “Overall weight needs to be taken into consideration, as well as how that weight is distributed for the style cleaver you are making,” Robert advised. “Ergonomics is an important consideration for any knife or tool, but especially for kitchen cutlery. Whether it’s in a professional or home kitchen, you’re making a handle that a chef or cook could use for hours of food prep on any given day. So, it must be comfortable.”

Edgy Ebony

Having served time in professional food service, practical utility is never far from David Jacobson’s mind. However, he isn’t afraid of adding some flourish to his creations, such as the gold-inlay signature near the spine of his mosaic damascus bladed and ebony scaled cleaver. (SharpByCoop image)
Having served time in professional food service, practical utility is never far from David Jacobson’s mind. However, he isn’t afraid of adding some flourish to his creations, such as the gold-inlay signature near the spine of his mosaic damascus bladed and ebony scaled cleaver. (SharpByCoop image)

David Jacobson’s integral 13-inch cleaver with ebony handle scales sports an 8¼-inch mosaic damascus blade of 1085 and 15N20 steels and a gold inlay signature—his first such accent. He used brass bolt pins to finish the ebony scale attachment.

“I love cooking and making cool chef’s knives and kitchen tools,” Jacobson related from his Felton, California, shop. “Edge geometry for chopping and balance are challenges, and fullers are nice when slicing vegetables for food release. Cleavers are not only for the kitchen. They are great for large fish processing at the dock, chopping through bone and restaurant back-alley butchering. The wide blade shows off the many designs in the damascus steel, and I chose a traditional profile for this particular cleaver. I’ve always liked a black handle with big brass pins—old school.”

Cutting Mustard

Given the amount of steel and the need to pay attention to minutia is what Bill Tyc figures steers most makers away from cleavers. Tyc achieves an intricate pattern on his cleaver-chef’s knife set through a simple mustard patina, but applied with a straight edge for a pattern he calls “Lines of Insanity.” (SharpByCoop image)
Given the amount of steel and the need to pay attention to minutia is what Bill Tyc figures steers most makers away from cleavers. Tyc achieves an intricate pattern on his cleaver-chef’s knife set through a simple mustard patina, but applied with a straight edge for a pattern he calls “Lines of Insanity.” (SharpByCoop image)

The pairing in Bill Tyc’s featured ensemble is stunning in its presentation. “The cleaver as well as the chef’s knife are made of 52100 high carbon steel from the NJ Steel Baron,” he remarked. “The handles are stabilized spalted tamarind from Wood Dynamics fastened with brass Corby bolts. The pattern on the steel is a mustard patina done with a ruler edge, hence the name “Lines of Insanity” pattern. The cleaver is 11½ inches overall with a 6¼-inch blade. It’s 3 inches tall and ¾ inches at the heel. I felt the spalted lines of the tamarind wood would look perfect with the mustard patina.”

Tyc, who resides in Waterbury, Connecticut, remembers making kitchen knives that did something no other creations had generated. He got immediate feedback from users.

“In fact, the first ‘kitchen’ knife I sold was a cleaver at the Mystic Knife Show in Connecticut,” Bill remembered. “A gentleman circled the floor three times, every time touching a cleaver I had on the table. Last pass, he picks it up and just says, ‘I’ll take it.’ My wife and I look at each other with a thumbs up, and off he goes. Well, the following year, the gentleman comes into the show, right up to my table, and says, ‘Last year I bought a cleaver from you.’ The wife and I again look at each other because we most certainly remembered. He says, ‘I have so much fun using that cleaver every day!’ I reached across the table, shook his hand and said, ‘I’ve been waiting 20 years to hear that! I could pack up and go home, I feel so good.’”

According to Tyc, many custom knifemakers shy away from cleavers because they require a lot of work. At just about any knife show, only a relative few are seen for sale. But he adds cleavers’ utility far exceeds their supposed kitchen niche, pointing out they are handy for camping, survival exercise, yard work and bushcraft as well.

“The most important things are balance and weight,” Bill observed. “A knife used as often as a kitchen knife or cleaver has to feel good in the hand, not just initially, but long term. You may find yourself using your kitchen knives for many hours through the week. You want it to be comfortable, not a labor.”

Veggies Beware

One of the unique advantages of the cleaver, Dan Tomplins points out, is the large canvas it allows for the steel. In the case of his nakiri—vegetable cleaver—its 81/2-inch copper mai blade can’t help but catch the eye, particularly with the steel’s blacked-out finish enhancing the patina'd copper. Note too, the hybrid octagonal/western-style handle made from amboyna burl. (SharpByCoop image)
One of the unique advantages of the cleaver, Dan Tomplins points out, is the large canvas it allows for the steel. In the case of his nakiri—vegetable cleaver—its 81/2-inch copper mai blade can’t help but catch the eye, particularly with the steel’s blacked-out finish enhancing the patina’d copper. Note too, the hybrid octagonal/western-style handle made from amboyna burl. (SharpByCoop image)

In 2016, Dan Tompkins began making knives, and three years later, he started Evolution Cutlery in Highland, New York. His kitchen knife work began simply because he wanted to make cutlery used on a daily basis, and his cleaver immediately attracts attention.

“The big square profile is a great canvas to show forging skills, especially if using mosaic damascus. It allows a lot of room to see the details in the patterning,” said Dan. The subject steel is Baker Forge copper mai with a blacked-out finish and layers of patina’d copper in the nakiri, or veggie cleaver, design. The handle is Tompkins’ hybrid octagonal/western style made from amboyna burl, heirloom fit to a copper and G-10 bolster. The cleaver blade measures 8½ inches, and the overall length is 13 inches.

“One challenge in making cleavers is getting the edge geometry perfect for the intended purpose,” explained Dan. “There are many different types of cleavers, so the proper geometry is an important consideration. Heavy-duty blades require a heavy convex edge, while veggie cleavers are best with a laser-thin edge. When it comes to kitchen knife ergonomics, not only do you have to have a good feel in the handle’s shape and contour, but you also have to have proper balance to make the knife comfortable to use all day. While cleavers will almost always be slightly blade heavy in balance, they should still be balanced not far in front of the handle … Balance can make a light knife feel heavy or a heavy knife feel light. In my opinion, even a heavy knife with proper balance is far more comfortable to use than a light knife with improper balance.”

 Tompkins sees the cleaver in action in varied settings, not just the kitchen. Camp chores like chopping wood or preparing food outdoors can be handled easily with a cleaver made for such adventures, and he makes the cleaver to fit the anticipated tasks.

Versatility is readily apparent in these custom cleavers, and their functionality is in lockstep with good looks driven by their makers’ creativity.

Check Out More Cool Customs:

Shop Dump: Steve Schwarzer

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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Shop Dump: Burt Flanagan

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A Disciple Of Bill Ruple, Burt Flanagan Has Been Making Knives For Nearly A Decade And Crafts Some Of The Finest Slip Joints In The Lone Star State.

Burt Flanagan has been making knives part-time since 2015 and also is a member of the South Texas Slipjoint Cartel of understudies of Cutlery Hall-of-Famer Bill Ruple. Burt’s father was a knifemaker before him but due to extenuating circumstances—he lost his equipment in a robbery—he never achieved the heights he could have. 

Flanagan’s mother passed away in 2014 and shortly thereafter a Fedex package from Burt’s father arrived at the door. Inside Burt was shocked to find a 2×72 grinder and called his dad to find out about the gift. His father told him his mother had always supported his interest in wanting to make knives, and through the proceeds from her life insurance policy he knew she’d want to help Burt get started.

In no time Flanagan was grinding away at becoming a highly respected knifemaker. He had a chance to meet Ruple at a Johnny Stout hammer-in in South Texas and—long story short—the legend invited him down to learn how to make slip joints. He did so with his dad in tow and the three have all been great friends since. 

Burt also credits The Knifemakers’ Guild for its guidance and is now a member of the organization’s board of directors. When not making knives he works full time for Paragon Industries, makers of fine heat-treating ovens, as the company’s knife industry manager.

Inside Burt Flanagan’s Shop

Burt Flanagan caled down Tony Bose’s Back Pocket model, giving it a 3.25-inch blade of CPM 154 stainless steel and antique Westinghouse Micarta® scales with an abalone shield. (Mitchell Cohen knife image)

The shop tour begins with a piece of equipment Burt knows quite well. 

“I am a very blessed man to have a career in the knife industry with Paragon Industries. I would never endorse something that I did not believe in,” Burt states. “My Paragon Pro will reach 1,000 degrees Fahrenheit in six minutes. You may think that’s not possible but it’s true. I will tell you that this is most likely the most important single piece of equipment in my shop because this is where it all starts. The heart of the blade is in the hardness, and my Paragon Pro is the ultimate. When I first got my Paragon oven it immediately cut my heat-treating time by two-thirds over a conventional brick-type oven that took over an hour to reach 1,925 degrees. This is to heat treat CPM 154 stainless steel, which I use pretty much exclusively for my blades, along with carbon steel damascus.

“An absolute must for a slip-joint maker is a surface grinder and I use a DoAll D-8. I was taught that two of the most important things in slip-joint making at a high level are for your parts to be flat and perpendicular. The D-8 takes care of the flat part of the equation. I surface grind my blades and springs to within one-half-of-one-thousandth of an inch with this machine. There are many different quality brands of surface grinders available from old to new. Mine happens to be an older model that has been restored and is in great condition. It weighs close to 5,000 pounds and is a hydraulic two-axis automatic beast that can get the job done.”

Big Tools For Big Jobs

Burt indicates the Moen Turbo Platen eliminates the belt-bump factor during grinding while also blowing a tremendous amount of air over the work, cutting down the heat on the blade big-time.

Next up Burt extols the virtues of his Oliver of Adrian drill point thinner machine. 

“I’ve found it to be true that the first thing a dealer, collector or purveyor—as well as many knowledgeable customers—look at in a custom pocketknife is the nail nick. A proper nail nick, no matter what the method used, should have needle sharp points and be thin and consistent throughout. This machine is the beans as we say here in Texas,” Burt explains, “and allows the maker to properly place the nail nick just before assembly. It is equipped with a built-in diamond dresser with a lever that keeps the 5-inch stone sharp all the time. Although there are many ways to cut a nail nick, most makers say this machine arguably does the best job.

“As with a nail nick there are numerous ways to inlay a shield on a pocketknife. I believe the most versatile way is the pantograph. Mine is a Gorton P1-2 model, which has been restored to almost new condition by the pantograph guru, Tim Robertson. There are many different makes and models that work great. These machines are the predecessor to the CNC machines of today. Gorton machines were made from the mid-’60s up to the early ’90s. My machine was made in the mid-’80s. These machines are capable of doing so much more than just shields; it enables the maker to create just about anything your mind can imagine. I believe we are only beginning to explore what is possible with these machines in the knife world.”

Lastly, Burt highlights his Moen Turbo Platen. 

“Jerry Moen continues to change knifemaking for the better,” Flanagan praises. “This great tool virtually takes away the belt-bump factor while blowing a tremendous amount of air over your work, cutting down the heat on your blade big-time. It also greatly reduces the amount of belts necessary to achieve the same finish. I actually use three-to-four grits to accomplish a mirror finish. An LED light kit makes it even better.”

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Jantz Knife Supply: Providing Everything Required To Make Knives

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Jantz is a crucial source for many who fashion knives.

For 58 years Jantz Knife Supply has met the needs of cutlery craftsmen of all stripes, from green behind the ears to on up in years, with everything needed to make knives. This includes specialty steels, handle components, sheath materials, hand tools and sanding supplies, as well as the heavy equipment for knifemaking.

What started as a small mom-and-pop gun supply outfit founded by Ken and Venice Jantz in 1966 is no less than a U.S.-based juggernaut in today’s cutlery industry. The Jantzes haven’t left their humble beginnings behind, though, so no customer job is too small for the venerable knifemaking supply company in the heartland of America, Davis, Oklahoma.

Ken Jantz
Company co-founder Ken Jantz works on a prototype for a new hollow-grinding fixture at the company facility.

Shanna Kemp oversees the marketing, financial and human resources for Jantz. She probably knows as well as anyone about the many specialty and other items available to the company’s legion of customers.
“Our goal is to provide everything knifemakers could need for their project,” she begins, “whether you’re a beginner looking for a new hobby or a custom knifemaker stocking your shop to get ready for the BLADE Show. One thing we really love is creating fixtures and tools to make knifemaking more accessible for every skill level.”

One of the company’s most popular new fixtures is the PDJ Knife Vise. “It’s handy for all levels of knifemakers as it allows you to drill perfectly perpendicular holes through your handle material” regardless of the material’s texture or unevenness, Shanna explains.
Jantz stocks an abundance of parts for assembling and enhancing knives of all types. “Our most popular products are our Corby rivets, Loveless bolts and metal round and bar stock,” Shanna enumerates. “Our customers love the quality of our materials as we source directly from reputable mills with consistent quality and do our cutting and machining in house. One of our other popular products is our handcrafted mosaic pins. Each pin design is meticulously hand assembled right here in Davis, Oklahoma.”

Jantz Steel Stock

JS750 perpendicular vise with drill press
Jantz offers a range of knifemaking equipment. An example is the JS750 perpendicular vise with drill press.

An outstanding blade is the heart of any knife and Jantz offers all kinds of stainless and high carbon steels. “We carry a variety of knifemaking steels to suit both forging and stock removal,” she states. “1095 and 80CrV2 are very popular carbon steels and CPM 154 is our most popular stainless steel.” She added that the damascus forged by Brad Vice’s Alabama Damascus is very popular because of the quality and solid price point for the company’s patterned-welded steel.

“For Jantz, steel and other metals have always had a long lead time since we source from a variety of mills in the U.S., Germany, Sweden, Brazil and others,” Shanna observes. “We have strong relationships with our suppliers, and they have worked with us to keep material moving forward even when lead times began to exceed a year.”

Jantz Knife Supply warehouse
No matter the material, component or tool for knifemaking, Jantz probably has it somewhere in one of its well-stocked aisles.

Fixed blades will never go out of style, Shanna opines, and the Jantz business model caters to the mindset that drives the knives’ popularity. “We find that fixed-blade makers tend to use both stock removal and forging in their blade design and development,” she states. “The television series Forged in Fire certainly increased the popularity of forging, but we still see about the same divide between stock removal and forging. Fixed blades designed for hunting and survival are top sellers for our custom knifemakers as well as our hobbyists. There’s something special about using a knife in the field during hunting season that you made yourself that really resonates with the knifemaking crowd.”

When it comes to heat-treating ovens, Jantz recommends Paragon kilns above all others. “Not only do they make a quality oven,” Shanna assesses, “but they have a variety of ovens designed for beginners to pros. Their customer service is top notch and Burt Flanagan, who represents Paragon’s knifemaking ovens, is a custom knifemaker, so he truly understands what knifemakers need.”

Jantz-Made Blades

Knife assembly kit
Knife assembly kits such as the Caballero are a great way to learn the ins-and-outs of folding knives. Jantz offers over a dozen knife genres, from traditional slip joints to modern tactical fare.

For those wanting to get their feet wet in the cutlery world, Jantz offers a cornucopia of pre-made blades for virtually any niche of the market, including household cutlery. According to Shanna, many custom makers order beautiful stainless damascus in various patterns from Damasteel for their kitchen knives. “Our Jantz-made line of household cutlery is especially popular with customers,” she adds. “Our santoku, cook’s and paring blades are favorites of makers using pre-shaped blades for project knifemaking. All the Jantz-made blades are manufactured in our facility.”

Jantz offers an abundance of both knife blades and knife kits. These are designed not only for the novice and hobbyist, but for those who want to tailor special knives for sale. The Jantz website offers links aplenty to a wide range of genres in both folders and fixed blades. Need a fixed-blade hunter in damascus? No problem. Like a kit to learn the ins-and-outs of folding knives? There are over a dozen styles available, from traditional slip joints to modern tactical fare.

JS500 for slip joints
Providing fixtures such as the JS500 for slip joints that make knifemaking more accessible to hobbyists and makers of all levels is a specialty at Jantz Supply.

If there is an innovation on the horizon, Jantz Supply will be on top of it. “One of the many things we love about the knifemaking community is how open and sharing makers are with each other,” Shanna observes. “Want to learn something [another knifemaker] is doing? Just ask. You will rarely find someone not willing to share.”

That spirit and willingness to help is what has made Jantz an important part of the cutlery industry for going on six decades now.

More On Knifemaking:

Cool Custom: Jose Santiago-Cummings BBQ Knife

The Jose Santiago-Cummings BBQ Knife will rock your brisket.

Among Jose Santiago-Cummings’ growing ranks of customers are those he describes as “foodies,” and he built his second BBQ Knife expressly for them.

Not unlike a pirate boarding cutlass in appearance, the long, curved blade is designed for the rocking slices needed to cut meat and brisket. It’s similar to how a slicer is used as opposed to, for example, a nakiri for chop cuts.

Jose Santiago-Cummings
Jose Santiago-Cummings

Jose, 62, used a cylindrical drum-sander-like attachment on a Ram tool to carve the grooves in the long, upswept handle. Jimmy Floyd forged the clip-point blade of damascus clad in wrought iron.

BBQ Knife Specs
Maker: Jose Santiago-Cummings
Blade length: 8.5”
Blade steel: Damascus of 1084 carbon and 15N20 nickel-alloy steels clad in wrought iron
Blade grind: Flat
Handle: Black and orange G-10 resin
Overall length: 13.25”
Maker’s price for a similar knife: $450-$475

More Custom Knives:

Dagger Design: Getting A Handle On Crafting The Handle

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Tips on handle materials, shaping/layout, grooves and flutes.

A good knife requires a handle that not only feels right in the hand but also complements the blade’s intent. For daggers especially, few embellishments capture both technical skill and aesthetic elegance like a spiral-fluted handle paired with inlaid twisted wire.

Fluted, wire-inlaid handles trace their lineage to medieval Europe, where 9th-to-12th-century knives were often bound with spirals of wire for both decoration and basic grip enhancement. By the Renaissance, Italian and French artisans had refined this into a sophisticated embellishment. They carved shallow, evenly spaced flutes into hardwoods, stone, ivory or other materials, then inlaid twisted wire into the channels in a demonstration of their mastery of contrasting textures and precise tool control. The grooves not only trimmed handle weight for better balance but also improved the gripping surface so that daggers felt responsive and secure in the hand.

In modern times, this technique remains a key hurdle in the path to attaining the level of master smith from the American Bladesmith Society. Flawless execution of fluting and wire inlay is essential—each flute must be crisply defined and identical in depth and spacing. Each wire strand must be uniformly twisted and fitted without gaps.

When choosing your material for a fluted, wire-wrapped dagger handle, think beyond mere function. You’re going to put in a lot of time on this project, so use something nice.
When choosing your material for a fluted, wire-wrapped dagger handle, think beyond mere function. You’re going to put in a lot of time on this project, so use something nice.

In the following paragraphs, we’ll walk through choosing handle material, laying out the spirals precisely, and cutting the wire grooves and flutes.

Handle Material

When choosing your material for a fluted, wire-wrapped dagger handle, think beyond mere function. You’re going to put in a lot of time on this project, so use something nice. G-10 and Micarta® are outstanding materials from a purely functional perspective, but they lack the organic warmth and storytelling power found in natural materials. On the other hand, black Richlite and black or ivory-colored paper Micarta can be appealing and affordable substitutes to African blackwood or natural ivories.

Most hardwoods should be stabilized but the various rosewoods, desert ironwood, African blackwood and other similarly hard and dense woods can be used as they are. For collectors seeking rarities, ancient mammoth and walrus ivories are beautiful and carve cleanly, though they can crack if too much heat is allowed during shaping and can expand, contract or crack with changes in humidity. Mammoth ivory can also be difficult to find in large enough sizes without cracks.

Both layout and shaping are made easier if the drilled handle is held between nuts on a long bolt or piece of threaded rod as a fixture.
Both layout and shaping are made easier if the drilled handle is held between nuts on a long bolt or piece of threaded rod as a fixture.

Consider in advance what type of wire you’ll be using and choose the handle material accordingly. Silver and gold both look great against dark and light materials but consider matching the warmth of the color of gold with warmer-colored materials, and the cooler color of silver with lighter or cooler-colored materials. Think about chatoyance and orient your flutes to highlight the patterns under various types of light. The wires will be the visually dominant part of your completed handle, so the drama and color variation of certain burls and mammoth tooth will be outshone at best and visually distracting at worst.

Costs vary dramatically. Rare hardwoods and ancient ivories carry premium prices and should be ethically sourced. In contrast, G-10 or Micarta balance performance and cost-effectiveness but lack the luxury you’ll want in a signature piece. It’s a good idea to order materials for practice, especially if you’re planning to work with expensive ones. Antler, bone and paper Micarta all work similarly enough to ivory and the harder woods to be valuable for practice. Time spent in practice will not be wasted.

Layout & Shaping

You have carefully chosen the perfect material that fits your well-thought-out, cohesive vision for what impression or statement you want your knife to make, and now it’s time to lay the groundwork for some precision carving. While not strictly essential, it can be helpful to begin by squaring your blank on all faces—accurate squaring guarantees precise drilling and layout alignment for every step. The ends must be square to the tang slot and perfectly parallel to each other to ensure tight fit-up at the end. It will be harder to do this after you’ve shaped the handle, so do it before you start.

Gold and silver are the colors of choice for dagger handle wire wraps. ABS master smith J.W. Randall opts for the gold on the fluted handle of the warmer-colored mammoth ivory core of his art dagger. Overall length: 16 inches. (SharpByCoop image)
Gold and silver are the colors of choice for dagger handle wire wraps. ABS master smith J.W. Randall opts for the gold on the fluted handle of the warmer-colored mammoth ivory core of his art dagger. Overall length: 16 inches. (SharpByCoop image)

First, drill the tang hole. You can use a drill press but a lathe equipped with a four-jaw chuck to hold the squared blank makes it easier to ensure that the hole is dead-center and straight. Both layout and shaping are made easier if the drilled handle is held between nuts on a long bolt or piece of threaded rod as a fixture. With this in mind, it’s useful to drill a clean quarter-inch hole all the way through and save the broaching for the tang until later.

Shaping the handle profile requires some forethought into how it will mate up to the guard and pommel. The simplest transition is to make the ends of the handle and the fittings it meets round, but there are limitless options here. The handle itself doesn’t have to be round, and an oval cross-section makes it easier to index and orient the finished dagger in your hand. Assuming you’ve planned the design thoroughly before starting, shape your handle and sand it up to an even 200-to-300 grit. You’ll have some slips and scratches during the fluting process that you’ll have to sand out later, and your layout lines will be more durable on a rougher surface; there’s no need at this point to polish your handle to its final finish.

The next step is cutting the grooves for your wire, and the most important part of this process is accurate layout. There are a lot of ways to do this, but after trying most of them there is only one that has proven adequate. Luckily, it’s the easiest and the fastest method as well.

The most important part of cutting the grooves for your wire is accurate layout. Though it need not be fancy, a jig of some sort is essential here.
The most important part of cutting the grooves for your wire is accurate layout. Though it need not be fancy, a jig of some sort is essential here.

A jig of some sort is essential here, but it doesn’t have to be fancy. Fundamentally, all that is necessary is some means of indexing so that longitudinal lines are evenly spaced, some sort of rest or tool holder allowing the lines to be drawn perfectly straight down the length of your handle, and the ability to rotate your handle to draw evenly spaced lines around the circumference. The number of longitudinal lines is the same as your planned wire count. The number and spacing of circumferential lines around the handle determine your twist rate, and the number of resulting spaces should divide evenly into the wire count.

Once these lines are drawn, connect the corners of your resulting rectangles. Tracing each intersection gives you repeatable spiral guidelines for groove cutting and wire placement. Using a pencil is a good idea, but you can use ink if you’ve verified that it won’t permanently discolor your handle. This is the time for experimentation—you can draw new lines to test new twist rates, but once you start cutting, you’re committed.

Grooves & Flutes

When you’re satisfied with the layout you can begin cutting the wire grooves. With your handle anchored by tightened nuts on a piece of threaded rod, clamp the rod in a vise and start by precisely scoring each guideline with a fine blade in a jeweler’s saw. If you leave the handle slightly loose, you can turn it with one hand while cutting with the other. A blade size of 1/0 is good for this step. Deeper cuts will make the next step easier, so go to the full depth of the blade or slightly beyond. Alternatively, use the corner of a fine triangle file to mark and deepen the lines precisely. In either case, if you have an OptiVisor or, even better, a microscope, this is the time to use it.

With your handle anchored by tightened nuts on a piece of threaded rod, clamp the rod in a vise and start by precisely scoring each guideline with a fine blade in a jeweler’s saw.
With your handle anchored by tightened nuts on a piece of threaded rod, clamp the rod in a vise and start by precisely scoring each guideline with a fine blade in a jeweler’s saw.

Once the line is scored, shape each scored wire groove line with an Olson #4 36 TPI spiral scroll saw blade in a jeweler’s saw. It doesn’t have to be this brand, but since I like my inlaid wire to be made up of two twisted 24g wires, this specific saw blade’s .041-inch diameter is a perfect match for the .040-inch diameter of the combined wire. The resulting half-round groove ensures a very snug fit. Cut carefully until the depth of your grooves reach about half the combined diameter of your twisted wire, in this case approximately 0.020 inch. A single untwisted scrap of your wire can serve as an impromptu depth gauge.

Once all the wire grooves are clean and complete, it’s time to carve the flutes themselves. Lay out flute edges with dividers. Adjust the dividers to the width you need, place one leg in the wire groove, and scribe marks with the other leg to keep the spacing even. Bulk material can be removed with a coarse round file before refining with finer round files to uniform depth and width. It simplifies matters greatly if you plan your groove size to correspond to the diameter of a standard-sized file, though this is not strictly necessary. Ensure all flutes stop at an identical distance from each end of the handle. Each groove ending should be shaped so that every ending is identical—this is the trickiest part.

When filing and finishing flutes, keep the ends identical in length and shape. Any variation will stand out.
When filing and finishing flutes, keep the ends identical in length and shape. Any variation will stand out.

If achieving consistent flute endings is the most difficult part, sanding and finishing the grooves is the most tedious. You can start with 220- or 320-grit paper wrapped around a file or rod of the right size. Progress through all the grits until you reach the desired level of finish, ensuring that you remove all scratches from the previous grit before moving to finer paper. Eight-hundred grit leaves a nice matte finish. If you plan to buff your handle to a high gloss, keep sanding up to 1500 or 2000. You can buff out 800-grit scratches, but not without compromising the crispness of the edges of your channels. When the grooves are done, sand the flats between them as well, using a hard backing block to keep the transition between lands and grooves nice and crisp. A lathe makes this last step very fast, but it can be done by hand as well.

With these steps complete, now is the time to broach the handle to fit the tang of your knife.

Read More On Daggers:

Hallmark Of The Hamon

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For Ages, The Hamon Has Fascinated Makers And Knife Users Alike. Finicky, Beautiful, And Historic, The Hamon Continues To Wow.

It stretches much if not most of the blade’s length, and when it appears it’s accompanied by an air of mystery, of the exotic. Its contours are created by the knifemaker, and it has always served as a focal point for function and aesthetics. But exactly what is it?

For ages, the hamon has fascinated craftsmen and cutlery users alike.

“Technically, the hamon is the differentiation line between the hardened martensitic edge and the ‘not hardened’ body of the blade,” explained ABS master smith Brion Tomberlin. “The term temper line has been around for years, and, in my opinion, is not correct. Temper refers to drawing back the hardness of the hard martensite after quenching to reduce brittleness and impart toughness. So, a hamon is not a line where temper starts and stops.”

Elaborated knifemaker Joel Mercier, “Tempering refers to the action of heating a quenched steel to a given temperature to remove the brittleness induced by the newly formed martensite, the hard steel molecules created when a steel is quenched. Untempered martensite is very hard but also brittle as glass. It is possible to temper various zones of a blade at different temperatures.”

The hamon is an indicator of the hardening difference between the edge and the softer areas of a blade. These areas are not developed during the making of the steel itself, and a hamon may be formed with stock removal or forged steel.

The hamon comes to life in the quenching process. By achieving different cooling rates, makers form various quantities of martensite, hence a varied hardening of the steel. The faster the steel cools, the higher the percentage of martensite.

The appearance of the hamon denotes a harder edge and a tougher spine in the blade, allowing for flexibility while preserving sharpness and cutting ability. “The hamon,” related knifemaker Johnny Raymer, “is the visual representation of the transition zone between the hardness levels in a differentially heat treated blade. A temper line is often visible within a hamon and is the boundary in which the most drastic change in hardness occurs.”

Along with the functional aspect of the hamon, there is an artful attractiveness. Raymer explains that the hamon extends beyond the temper line itself to the further reaches of the blade during the blending of hardness levels. Most often this is seen toward the edge, yielding a smoky appearance and becoming the hamon’s most artistic component.

How Do You Make A Hamon

Developing a hamon depends on controlling the cooling of the steel as necessary. The rate of cooling is typically determined with the use of clay or another suitable material.

“First, you need to consider your steel selection,” Tomberlin advised. “You need a steel that is low alloy and has a low manganese content. Manganese promotes deep hardening, and the more manganese you have in the steel, the less hamon formation will occur. The most common modern steels that fill the bill are 1095, W1, W2, and 1075, and before the steel is quenched a coating of clay of some sort is applied to the surface that you intend to be less hard. The clay slows down the cooling process in that area.”

Order: 210218_Joel_Mercier_001 Maker: Joel Mercier Email: [email protected] Phone: +1 08196905635 Knife Info: Maple sap sprout themed fighter W2 steel blade, wrought guard and buttcap, copper fittings and curly maple.

Once a blade has been forged or stock removed, Tomberlin takes it to a 120-grit finish that will allow the clay to stick. He thoroughly cleans the blade to remove any oils and then applies the clay. He prefers satanite refractory mortar and learned to use it from now-retired ABS master smith Don Fogg years ago. However, fireplace mortar or certain types of cement, Rutland for example, will also work.

When a light coating of clay is applied, the maker can manipulate the pattern of the hamon. For quenching, Tomberlin uses Park’s 50 oil. Water is an alternative but it takes practice and may produce cracks. “It isn’t for the faint of heart,” he commented.

After quenching, a quick grind at 120 grit will reveal the hamon. Telltale signs that the process has gone awry include the absence of activity—a consequence of the blade being too hot at the moment of quenching. If the hamon runs off the edge of the blade or falls below the pattern of the clay, it indicates that the clay coating was too thick or the blade was not hot enough to perfect the process.

A fine example of a Tomberlin hamon is seen in his chef’s knife with a seven-inch W-2 blade, exhibition thuya wood burl handle, G-10 spacers, and silicon bronze accent. The hamon is subtle yet striking and reaches toward the blade edge in a stunning display.

Raymer adds that the temper line is the boundary of differential hardening, but also notes that it may be more visible in some cases than others. 

“It is almost always unbroken, but as far as being clear and well defined, that is not always the case,” he observed. “Depending on the etching or polishing process you can get multiple results for the visual aspect of the hamon, as well as multiple temper lines depending on the hardened areas.

“Etching for a stark contrast with dark smoked or bled-out areas in the ashi* region of the hamon is very popular. But the hamon can also be given a frosted appearance with etching or simply polishing to give it a subtle ebb and flow that is only seen as the hamon catches light.

“As far as a well-shaped pattern, the hamon is very controllable by the artist crafting the blade,” Johnny maintained. “It could be as systematic or symmetrical or as organic and free as the craftsman desires. The most important objective, as with many aspects of knifemaking, is symmetry from one side of the blade to the next.”

Raymer reveals his skills with the creative hamon achieved on a 5.25-inch blade fashioned from 1095 steel accompanied by a magnificent 11-layer handle consisting of brass, G-10 spacers, Tasmanian blackwood and black ash burl. The overall length is 10 inches, and the knife is accompanied by a sheath in seven or eight-ounce leather with a multi-directional belt attachment.

Those who work in stock removal and wishing to try the hamon technique can take heart. “Forged blades and stock removal knives have the same potential for hamon activity in my opinion,” Johnny stated. “All knives become stock removal at some point. The heat treatment is the same for me in a stock removal knife as well as a forged knife.”

Mercier calls the maker’s manipulation of the hamon the most interesting part of the process. “I have yet to ‘crack the hamon code,’” he advised. “There are many variables at play here, all of which will dictate where and how the hamon will show. The geometry of the blade, the steel used, the type and thickness of the clay, the temperature of the steel, the type and temperature of the quenchant, a vertical or horizontal quench, and more.

“I don’t believe there are better shapes for a hamon. As for the location, I would say it depends on the type of blade and how crucial the hamon is. For example, a hamon is more of a question of aesthetics on a kitchen knife than it is on a weapon. A hamon done properly will show three zones very clearly—high, medium and low martensite areas—and it won’t get too close to the edge of the blade.”

Mercier showcases his hamon technique with a fighter sporting a W2 steel blade, wrought iron guard and buttcap, copper fittings, and curly maple handle. The hamon is well defined and distinctive, clearly marking the effects of the differential quenching process.

“A hamon has nothing to do with forging steel,” Joel agreed. “It all happens during quenching, no matter whether the blade is forged or done by stock removal. If the wavy line of the hamon drops down below or into the blade edge, it means that area will be softer and will compromise the edge performance. Many things can be responsible for this, such as a quenching temperature that is too low, clay that is too thick or too low on the blade, or a quenchant that is too slow. I believe the most common mistake new makers do is using too much clay.”

 The Visual Beauty Of The Hamon

In the end, the development of the hamon primarily adds another dimension to the visual presentation of the knife. It certainly denotes a maker’s skill and attention to the need for a tough spine and an edge that maintains its sharpness without being too brittle.

The 1084 carbon steel blade of Adam Mille’s fighter comes complete with hamon. The handle is quilted big leaf maple burl. Overall length: 11.5 inches. (SharpByCoop image)

“Hamons themselves are just an aspect of art,” Raymer reasoned. “The process of differential hardening is beneficial in creating a blade that can take more impact like those seen in fighting knives or choppers, but still performs cutting tasks proficiently. This hardening method allows the knife to spring and/or bend without shattering and without reducing edge performance.”

The hamon, therefore, is representative of the highest performance in blade steel, a visual cue to the user to have confidence in the knife’s ability to undertake the task at hand.

*Ashi refers to the area of a hamon’s lines or shapes that descend toward the edge, and are created by thin strips of clay applied during the coating process.

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