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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Custom Flipper-Folders: Art Of The Flip

Aesthetically and mechanically challenging flipper designs that shine.

The flipper folder is one of those knife designs that continues to delight its makers and its owners with incredible vitality. Not only do the most recent flipper folders fill the traditional bill with great materials, mechanics and mesmerizing beauty, but they further garner high praise with an inherent level of energy.

Combining the attributes of excellence that set standards for custom knives with the sheer pleasure of smooth operation, the latest flipper folders hit the mark in quality and bring attention to their makers amid an ever-growing level of interest in the marketplace.

Scott Gallagher: Feather Damascus

Scott Gallagher says he’s seen an upswing in the interest in flippers in recent years. It makes sense with works like his feather damascus flipper. The feather pattern defines both blade and bolster, and is complemented by a fossilized mammoth ivory handle. (Jocelyn Frasier image)
Scott Gallagher says he’s seen an upswing in the interest in flippers in recent years. It makes sense with works like his feather damascus flipper. The feather pattern defines both blade and bolster, and is complemented by a fossilized mammoth ivory handle. (Jocelyn Frasier image)

Scott Gallagher recently completed a beauty with a 3-inch feather damascus flat-ground blade complemented by a damascus bolster and fossil mammoth ivory handle. With an overall length of 7¼ inches, Scott’s flipper folder features an upswept curve for fantastic visuals and intricate filework along the spine.

“I am receiving more requests for flippers right now,” commented Scott. “They have become very popular. I think the reason why is because they’re fun to use, kind of like a widget—they’re functional, they can be embellished and they are easy to carry.”

The single attribute of fun helps set the flipper folder apart from other designs. Anything incorporating fun into the knife equation is sure to gain increased attention. Still, Scott makes his flipper folders with exacting specifications and attention to detail. “A quality flipper should have a blade steel that performs well—good fit, finish and symmetry,” he explained. “The blade should close in the center of the frame. It should be fast opening and close easily without a sticky lock.”

For Scott, achieving the proper mechanics involves a combination of precise construction with materials that work in concert with each other. “Making the flipper tab is a matter of incorporating it into the design of the knife in the design phase,” he related. “In the closed position, the tab has to sit higher than the frame so your index finger can access it. I use bearings on my flippers. They are ceramic and very fast. To avoid pinching the user’s hand, I use a small tab. It’s only exposed enough to open the blade. My flipper tab is hidden in the frame in the open position. I have finger grooves designed into the frame to avoid fingers slipping forward.”

Alan Hollerbach: Spectre

There’s something ominously attractive about what Alan Hollerbach achieves with this knife. Christened the Spectre—an homage to the nemesis organization of James Bond—the wasp-wasted flipper gets right to the point. Baker Forge TigerMai steel for the blade and Fatcarbon Dark Matter scales add to the knife’s dark good looks. (SharpByCoop image)
There’s something ominously attractive about what Alan Hollerbach achieves with this knife. Christened the Spectre—an homage to the nemesis organization of James Bond—the wasp-wasted flipper gets right to the point. Baker Forge TigerMai steel for the blade and Fatcarbon Dark Matter scales add to the knife’s dark good looks. (SharpByCoop image)

When customers consult with Alan Hollerbach on the attributes of a quality flipper folder, his response is straightforward. “Look for high-quality materials—hardened washers and bearings, a smooth action and a solid detent,” he offered. “I don’t take orders. I make knives I like and hope others do as well.”

The degree of knifemaker proficiency is tested somewhat further with the flipper folder in comparison to other designs. Alan welcomes the opportunity to put his skillset to the test. “It takes some more designing up front to get the layout and how it looks and the action correct,” he related. “The tab needs to be in a comfortable position for one-handed opening, tall enough to engage easily, but not too tall it looks out of place. It needs to have a strong detent to allow proper pressure to fire the blade and a smooth action with the bearings to allow the blade to open with minimum friction.”

Alan achieves his technical and aesthetic objectives in a handsome flipper folder model he has christened the Spectre, in reference to the James Bond feature film series. This example includes a 4-inch hollow ground blade of Baker Forge TigerMai Chevron damascus steel with jeweled and anodized titanium liners and Skiff bearings with hardened washers. Handle scales are Fatcarbon Dark Matter with 18 inlays in nine different sizes of Space Coral. The backspacer is also Fatcarbon Dark Matter, and the screws are black anodized titanium.

Rising interest in flipper folders is a matter of likes and style, as Alan sees the buying landscape these days. “I think it is a personal preference,” he commented. “I like the flippers for easy one-handed opening, but you can do the same with most other ways. It takes some more designing up front to get the layout and how it looks with the correct action. I like the lines as clean as I can make them, so tabs are just to open the knife, as I try to hide as much as I can when the knife is open, just for aesthetics.”

The addition of a hole in the Spectre blade gets attention as well. “You can open the knife with the hole, but it was designed for aesthetics mainly,” Alan noted. “I wanted to smooth the lines of the knife in the closed position and show with the curves of the cutout it was done on a pantograph by hand.”

Robert Champion: Dark Wind

Robert Champion spends plenty of time perfecting the placement of the deployment tab. On his Dark Wind, he employs a low-profile tab to avoid pinching when the blade is deployed. Also noteworthy on this knife, the knock-out engraving by Dale Bass that takes the work to another level. (SharpByCoop image)
Robert Champion spends plenty of time perfecting the placement of the deployment tab. On his Dark Wind, he employs a low-profile tab to avoid pinching when the blade is deployed. Also noteworthy on this knife, the knock-out engraving by Dale Bass that takes the work to another level. (SharpByCoop image)

Examining the locking mechanism is a must for those contemplating an investment in a quality flipper folder, a tip Robert Champion emphasizes. “A 3-point constraint is better than a 2-point constraint,” he said. “A 3-point will lock the knife more securely in the open position as well as in the closed position. The blade should lock solid, not be loose and never have a sticky lock.”

Robert’s Dark Wind model exemplifies his perspective on the flipper folder. Its 6-inch blade features hollow ground Dragonskin Damascus steel from Shaya Forge, while the furniture is in 416 stainless steel and the handle scales are fashioned from giraffe bone. Dale Bass’ engraving complements the piece in its entirety.

“I’m receiving more and more requests for flippers,” Robert remarked, “especially the more dressed and upscale models. Their popularity seems to be trending up. They’re easier to deploy and in regions where automatics are not permitted, the flipper is a great option. The flipper tab is an integral part of the tang design that is easily roughed in while profiling the blade. Thumb pegs and discs are separately fabricated components that require drilling, tapping and a turning process on a lathe. Then, they are attached to the blade. Tab location is important when designing a flipper. Placing it too far forward or too far back on the tang will cause inefficient deployment.”

Bringing all these components together in proper tolerance with respect to the look and feel of the finished product provides a worthy test for the makers of flipper folders. Like any folder, smooth deployment and ease of carry rise to the top. However, the flipper aspect brings another dimension to the requirements for optimal performance.

“Depending on the size of the knife, I use good-quality stainless or ceramic ball bearings,” Robert advised. “I tend to use stainless bearings on my smaller models, but that is just a personal preference. I also use dry slide oil lubricant. I design a low-profile tab to prevent pinching and currently make single-tab models. In the future, I plan to make flipper daggers that will have more of a guard-type tab.”

John Curran: Alpha 3

John Curran has focused much of his work on flipper folders and his experience in this design shows in his Alpha 3. Clean and complex, the knife pairs a titanium handle with an Elmax steel blade, featuring caged bearings for absolute, buttery-smooth deployment. (SharpByCoop image)
John Curran has focused much of his work on flipper folders and his experience in this design shows in his Alpha 3. Clean and complex, the knife pairs a titanium handle with an Elmax steel blade, featuring caged bearings for absolute, buttery-smooth deployment. (SharpByCoop image)

John Curran created a flipper folder in a model he calls Alpha 3 with a flat ground 3-inch blade of Elmax steel and an overall length of 7½ inches with a titanium handle and frame. The flipper design has been a mainstay of his work for some time.

“I’ve predominantly built flipper-style folders over the years, though I’ve done my share of thumb-stud and thumb-hole deployments as well,” he related. “In terms of trends, I haven’t noticed interest in one style rising or falling dramatically. What I have noticed is that customers are spending more carefully. People know what they want and they are choosing their purchases very intentionally.”

As John tries to fulfill his customers’ expectations, he watches the intricacies of the flipper folders he constructs carefully. “From my perspective, flippers don’t necessarily hold an advantage over other deployment methods,” he commented. “It really comes down to personal preference. Some customers want a classic flipper, others ask for a flipper paired with a thumb stud and some want a hole cut into the blade as an alternative opening method. There is no single best option, just what feels right in the user’s hand.

“The complexity of the build depends on the design more than the deployment style,” John continued. “I spend a lot of time sketching concepts only to discover during mock-ups certain ideas don’t translate well in hand. I typically prototype in G-10 or even wood to check ergonomics, mechanics and overall fit. That stage tells me a lot about whether the knife is going to meet my standards.”

John’s basic components include caged bearings and hardened stainless washers for smooth action. “If a customer wants to keep the cost down, I can build the knife without bearings and use phosphor bronze washers instead,” he advised. “Ceramic bearings undeniably offer the smoothest action, but bronze washers still perform well. It ultimately depends on what the customer values most. Milling pockets for the bearings adds time and labor and is reflected in the final price.”

Design concentrations on clean, reliable opening mechanisms and functional finger guards when the blade is deployed are hallmarks of John’s finished product. The challenge is always in the “tweaking” to solidify the geometry, but the result is worth the investment of time and effort.

The flipper folders emerging in the custom knife market today offer diverse profiles, materials and interpretations along with a wide range of price points. Each of these factors influences the consumer and makes the genre vibrant.

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Dads And Daughters: Passing The Art Of Knifemaking Down

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The Older Generation Is Teaching The Next Crop Of Makers The Ropes Of How To Turn Steel Into Knives And Knives Into Memories.

Though it isn’t rare for kids to follow in the footsteps of their parents when it comes to choosing a career, the path to becoming a well-known custom knifemaker may just involve a bit more dedication than most other vocations.

For American Bladesmith Society (ABS) master smith Josh Fisher and Wolfgang Loerchner, the adventure has been quite rewarding as their respective daughters, Karis and Elizabeth, have become quite accomplished in their own right. 

Josh And Karis Fisher

The 2021 Texarkana Hammer-In was a memorable one for the Fishers, with Karis earning her ABS journeyman smith (JS) stamp, Josh his ABS master smith (MS) stamp, and each taking home the annual award for the best knife submitted by a JS and MS.

“When I was younger, I would always sit out in the shop watching my dad make knives,” Karis remembered. “Over time, I slowly started messing around sanding on pieces of metal, thinking I was making a knife. This eventually led to my interest. My first knife was a small full-tang hunter with a pink handle that my dad helped me make.”

Josh, no doubt, was ready and willing to help his daughter hone her skills when the time came. “Karis has always been pretty good at grinding blades,” he smiled, “but she struggled with guard fit up for a while and finally got that figured out.”

Of course, there were challenges and an obstacle or two along the way as Karis gained knowledge in the custom knifemaking world. She spent time at the forge, hammering away in preparation for ABS recognition, but that got placed on hold for a while.

“Yes. Definitely, I had a few setbacks,” she reflected. “I first attempted the ABS journeyman smith test in 2019 and failed. I then tried to retest the next year, but due to [the pandemic] it was canceled. In 2021, at the Texarkana Hammer-In, I finally got to retest and passed. Looking back, I think it worked out for the best because I was able to come back and win the Keeslar Award.”

The Joe Keesler Award is an annual honor for the best knife submitted by a successful journeyman smith applicant. If nothing else, the award validated the hours that both Josh and Karis had dedicated to her custom knife and bladesmith upbringing. And making the year extra special, Josh received his ABS master smith designation at the Texarkana Hammer-In, and later the B.R. Hughes Award for the best knife submitted by a successful master smith applicant. It, too, is an annual honor.

Josh added that sheer space and equipment limitations have impacted the progress of the Fishers’ work from time to time.

 “One of the main obstacles is working around each other in the shop,” he said. “We currently only have one grinder, so we sometimes have to wait for the other to finish before getting to work. Another grinder is definitely one of the next tools we are going to have to get.”

Bog oak comprises the handle of a Karis Fisher fixed blade with a recurve damascus blade.

Despite a little inconvenience, Karis has come a long way in a relatively short period of time. Family and friends are impressed. 

“All my relatives have always thought that it was cool,” that I made knives, she observed, “but my friends have always thought it was a little strange, especially the fact that my Instagram account has no pictures of me, just my knives.”

Her mom, Kim, is a big fan. “My wife loves to go to knife shows,” Josh related, “so she has always been supportive and happy about Karis and her work in knives.”

While Karis isn’t sure of an exact moment when she knew she wanted to make knives, the idea was never far from her mind. “I think I’ve always kind of known that it was something that I wanted to do,” she noted. “I enjoy making all types of knives, but small hunters are probably my favorite right now. I recently made my first slip joint, and I think they could easily become my new favorite.

“Probably my favorite part of knifemaking is seeing the finished product. But, if I had to choose an actual step, it would be all of the small embellishments and final finishing of the knives. If I had to pick a least favorite part, it would be hand sanding the blades!”

Wolfgang And Elizabeth Loerchner

Wolfgang Loerchner (left) and Elizabeth (right) had to share space in Wolfe’s crowded shop in the early days—at one point including long hours seven days a week for about a year—but it has all paid off. In the middle is Wolfe’s granddaughter by his eldest son.

The year 1982 was momentous for Wolfgang Loerchner. He made his first knife, and topping that achievement, his daughter, Elizabeth, was born. 

“It almost seems as if this path was destined for her,” he smiled. “Knives were a part of her life from the very beginning in various ways—observing the stages of the creation of a knife, the many shows, photos, and articles of the knife shows as seen in various magazines, observing friends visiting, and the many conversations that surrounded all aspects of knives. In some way, shape, or form, knives have always been a part of Elizabeth’s life.”

Elizabeth made an early step into knifemaking and then regrouped. Her second foray has been hugely successful.

“Having always had a strong interest in the arts, knifemaking was something I considered at one point when trying to decide my future,” she commented. “I made one attempt at knifemaking in 2003-2004. However, it quickly became apparent that the timing was not correct. It was not until several years later, after visiting the Milano Show in 2009, that I became truly inspired.”

Elizabeth and Wolfgang were sitting together on their return trip from the Milano Show, and she presented him with the idea of teaching her again. Of course, he was more than happy to get started, and Elizabeth began working on a knife design immediately. In January 2010, she sat down with her father once more—this time in his shop—and custom knifemaking quickly became a huge part of her life.

“I’ve had a couple of personal situations that did set me back,” she related, “but they have not kept me down. All around, there has been full support of my decision. Everyone has been happy to see me working in the arts and also to be carrying on what my father has been doing.”

Elizabeth’s mother, Dianne, shared a positive perspective. “I was glad for her, that she was able to use her artistic abilities to create knives. During her high school education, Elizabeth was always happiest when she was in the midst of creating an art project. In the few years directly after high school, she was thinking about steel and what she could do artistically with steel, which seemed a logical first step to me. 

“Elizabeth has an artistic flair that is unique to her, different from her father’s, and allows her to create pieces that carry more of a whimsical note to her knives. This is reflective of her deep creative ability. When she asked her father to teach her, I was a little hesitant since she had been living away from home for several years. While there were several tense moments, overall it was a good experience for both of them.”

Elizabeth’s knives have been recognized by aficionados worldwide at such exclusive venues as the Arts In Metal Show in Stresa, Italy, including this piece from the 2014 event. In fact, both she and her father have been regular exhibitors at the elite Italian show. (Francesco Pachi image)

The commitment of time and energy made for a few challenges in the learning process, but the entire experience has been worth the investment for Wolfgang and Elizabeth. Each has a distinctive design and artistic expression, coexisting, learning, and producing outstanding objects of art.

“One of the greatest obstacles we probably had to face was learning to work so closely side by side for so many long hours,” Wolfgang recalled. “There were other small obstacles. Working together in this way involved learning a whole new form of communication. We would often be saying the same thing but speaking it in a different language. Many mistakes were made as a result, but in due time we found our way to overcome this obstacle and work through things more smoothly and efficiently.”

Elizabeth recognizes the fact that she has learned to accept constructive criticism and teaching moments from her father. Wolfgang, on the other hand, points to a new method of communication developed as they worked together. Still, Elizabeth is adjusting.

“The most difficult part has been living in the path or shadow of my father,” she noted, “with the sense of needing to live up to the expectations of others. Creating my designs, it only seems to come naturally that my style is so similar to his. There are many reasons for this, and I constantly strive to find that fingerprint of my own.”

Elizabeth has always been an accomplished artist, drawing and painting with passion. Holding a file seems to come almost as naturally as working with a paintbrush or pencil. So, as her hand-eye coordination came together almost effortlessly, working in steel and making lines flow in knives was virtually second nature.

Fixed blades and integrals are the favorite types of knives for Elizabeth, and she appreciates their aesthetic qualities. 

“There is something about the power and strength of them,” she reasoned, “and what seems to be a limitless canvas. There is something pleasurable about working with folders and how the knife changes, whether open or closed. When working with daggers, fixed blades, and integrals, the limitations of working around the mechanical parts have been removed, and I find this gives more freedom to my designs.

“The most pleasurable part of knifemaking,” she added, “is the filework. Watching the steel slowly come to life, seeing the design come out of it as if it always lived there, is highly rewarding. The final finishing of a knife can be the most frustrating part. This is when any possible flaws start coming to light. Since I am my own worst critic, it can turn into a never-ending process of doing multiple things over and over again.”

Nonetheless, the Loerchners know they were destined to work together, one to learn from the other. In turn, each helps the other reach new heights of artistic expression.

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Cool Customs: John Thunert’s Capemaster

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Utilizing Steel From An Iraqi Tank, John Thunert’s Capemaster Is A Skinner Built On The Foundation Of A Caping Knife.

When John Thunert learned an acquaintance had some spare steel from an Iraqi tank, he jumped at the chance to buy some of it and forge it in the damascus of his Capemaster skinner.

Strips of steel 3×3 inches and 4×4 inches, each 3/16-inch thick, were torch cut from the armored vehicle, which was stored in a “tank graveyard” in Iraq. John cleaned the steel up, including removing some paint. He also got a copy of the form his friend had to fill out on the steel as a “war trophy,” which is how he was able to legally ship the steel stateside. “It kinda gives me some bona fides,” John noted.

Capemaster Knife

He said an analysis of the material identified it as a very pure form of mild steel containing 99 percent iron and few impurities. Though the knife started out as a caper, it kept “growing” until it became a skinner, but John kept the caper name. The handle is quilted poplar with pins of a subdued coyote brown G-10 to match the liners.

Who Is John Thunert?

John has been making knives since 2017 and has competed on The History Channel’s Forged In Fire show. He sells more than a dozen varieties of his Capemaster knife on his website, with the majority made from exclusively 80CrV2 steel. The majority of his Capemasters retail for $245.He has also made Bowie knives as well as multiple types of kitchen knives.

Capemaster Knife Specs
Blade Length: 4.75 inches
Blade Grind: Flat
Blade Steel: 80CrV2/1095/15N20/Iraqi tank steels
Overall Length: 9.25 inches
Handle Material: Quilted Poplar with Coyote Brown G-10
Price Of A Similar Knife: $625

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In Memoriam Of Grant Hawk: 1941-2023

The award-winning knifemaker and designer passed at 82 after a life filled with adventure and craftsmanship.

Award-winning knifemaker and knife designer Grant Hawk of Hawk Knives passed away peacefully at his Idaho City, Idaho, residence on November 8. He was 82.

Born in Boise, Idaho, on Feb. 15, 1941, to Woodrow Allen “Kelly” Stroud and Dortha Bunce, Grant’s life was a remarkable journey of adventure, resilience and creativity. His early years were spent as a cowboy in Boise, where his connection with the outdoors and love for craftsmanship began. The 1960s saw Grant moving to California to make camper trailers, but he quickly became entangled in the revolutionary spirit of the era, leading to a brush with the law. This encounter prompted a pivotal decision in his life: to adopt a new identity and retreat to the Idaho mountains.

In his seclusion, living in a teepee, Grant’s interest in gold prospecting blossomed. This pursuit marked his gradual reintegration into society and laid the groundwork for his future endeavors. It was during this period of reflection and growth that he discovered his true calling in knifemaking.

Alongside his son, Gavin, Grant embarked on a remarkable journey in the world of craftsmanship. Together they forged a path in knifemaking, combining adventurous spirit with Grant’s innate skill and creativity. Their collaboration led to the creation of distinctive and innovative knife designs, earning acclaim in the knifemaking community.

His final accomplishment was completing his autobiography, which he delivered to the printer just two days before his passing. On the night of his death, he was in good spirits and feeling well, but unexpectedly fell ill and passed away gracefully within 15 minutes.

Grant’s life was a tapestry of diverse experiences, from cowboy to gold prospector, and finally to a revered knifemaker. His legacy lives on through his son Gavin and their shared creations, which continue to inspire and captivate knife enthusiasts around the world.

Grant’s story is a testament to the power of resilience, adaptation and the pursuit of passion. His memory will be cherished by his family, friends, and all who knew him as a man who carved his path, much like the knives he so skillfully crafted.

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Cool Customs: Pat Antuzzi’s Hand-Knapped Fixed Blade

When it comes to crafting a knife, Pat Antuzzi works one flake at a time.

“What I do is go back to the Stone Age,” Pat Antuzzi says of his knapped obsidian knives. He has been knapping blades for almost a quarter century.

In that time he has found the best of the best obsidian to be the royal Mexican variety from the state of Jalisco in Mexico, a variety that’s basically been mined out. He used the material for the blade of his straight-edged fixed blade, as well as Portoro marble from Italy for the handle. But it’s the royal Mexican obsidian itself and how it’s knapped that are the keys.

Pat Antuzzi

“Every indentation you see on the blade is one flake removal from [the obsidian], and if it’s done right, you’re going to see it one flake after the other, just like the ancients would’ve done it,” he explained. “It’s wicked sharp.”

Hand-Knapped Fixed Blade Specs
Maker: Pat Antuzzi
Blade length: Not quite 5”
Blade material: Mexican gold obsidian volcanic glass from Jalisco, Mexico
Handle material: Portoro marble from Italy
Overall length: 9.5”
Maker’s price for a similar knife: N/A

Damascus: What Are The Hot Patterns And Steels In 2026

Jesse Harber and Coy Baker forecast the hottest damascus steel for ’26.

There’s something about predicting the future that has intrigued humanity for ages. If you could just somehow know which stocks would turn a profit, which crypto would “go to the moon,” or which numbers were coming in the PowerBall, you like to imagine that you could really take advantage. Thus far the ability to accurately predict the future has been a challenge, which begs the question—what damascus steels and patterns will be hot for 2026?

Jesse Harber of Vegas Forge doesn’t hesitate to jump right in.

“Our Reptilian pattern stayed hot in 2025,” he observes, “and it should continue to do well.” Vegas most often uses a combination of AEB-L, 440C and 302 stainless steels for contrast in its stainless billets. It prefers the combination of O1 tool, 1075 carbon and nickel-alloy steels for its carbon varieties.

Jake McCoy used Baker’s Zeus stainless damascus for the blade of his folder.
Jake McCoy used Baker’s Zeus stainless damascus for the blade of his folder.

Twenty-twenty-five was a fun year for Vegas Forge. It was able to continue making the steel it loves, the steel most knife enthusiasts all love to use—and it still managed to find time to innovate.

Makers have been using EDM cutouts in canisters to make unique figures and shapes for some time now. Over the past few years, a few have experimented with 3D-printed shapes inside canisters for truly limitless possibilities. Vegas has taken a different approach of using smaller cutouts within canisters that are then layered into “regular” damascus. There are obviously other critical details of the process not mentioned here, but the end result is small shapes or logos within the layers of the steel, not just as a shape like the other canister types you usually see.

Hammering Away At Baker Forge & Tool

Coy Baker said Baker Forge & Tool is “really moving and shaking” for 2026, partly because of a new Chambersburg steam hammer converted to air. With a die surface of 6-by-14 inches and a 750-pound ram, the whole shop shakes when the hammer pounds on a giant billet. The hammer originally was used to make jib cranes for the Charlotte Railroad and runs on a 50-horsepower compressor with multiple 750-gallon air tanks. Coy stated he hasn’t pushed the hammer to its max, but said he thinks it can handle billets up to 35 pounds.

Baker’s Tsunami copper-mai steel is the material for the blade of a piece by Hans Molenkamp of Crimson Knife Co. (crimsonknives.com).
Baker’s Tsunami copper-mai steel is the material for the blade of a piece by Hans Molenkamp of Crimson Knife Co. (crimsonknives.com).

Why in the world would Baker Forge need such a giant hammer? Because the company, too, has been innovating and expanding into the production of stainless damascus. After two years of research and development and fine-tuning Baker’s processes for production, the prodigious pounder is finally up to speed. Baker prefers a combination of AEB-L and 154CM for its stainless damascus.

“The steel is really hard even when it’s hot,” Coy said. “Even with our 350-pound hammer it was like pounding on a rock.” The giant Chambersburg, on the other hand, moves a giant stainless billet with ease.

For those of you who don’t know, forging stainless damascus is quite a challenge, beyond the capability of many backyard smiths. Stainless steels contain high chromium, sometimes 12-to-15 percent, and chromium oxide doesn’t forge weld. Any oxygen at all in the forging environment and the welds simply will not stick. There are multiple ways to get around that, including inert gas purges and welding inside canisters. Add that to the fact that the stainless doesn’t like to move under the hammer and has only about a 100-degree-temperature window when you can safely work it, and you get a very difficult process.

Baker Forge & Tool’s Will Spears forges a billet of stainless damascus on the Chambersburg high-frame power hammer at Baker. Built in 1946, the power hammer has a 750-pound ram and weighs just shy of 11 tons. “It took us 14 months to install,” Coy Baker laughed. “The foundation for it is over 12 feet deep.”
Baker Forge & Tool’s Will Spears forges a billet of stainless damascus on the Chambersburg high-frame power hammer at Baker. Built in 1946, the power hammer has a 750-pound ram and weighs just shy of 11 tons. “It took us 14 months to install,” Coy Baker laughed. “The foundation for it is over 12 feet deep.”

Baker isn’t just producing stainless damascus in run-of-the-mill patterns, it is innovating. It has developed patterns it will use in its stainless steel exclusively, particularly one called Zeus.

Copper damascus has long been Baker’s hottest commodity, and it’s still producing it at high volume and quantity. The company is pushing the limits there as well and has developed a method to weld and manipulate copper on the end grain. While the technique is under wraps, the results will be broadcast far and wide: copper damascus in formerly unobtainable mosaic patterns. When clad over a monosteel or carbon damascus core, the patterns stretch the imagination of what’s possible.

Steel Industry Challenges

Both Baker and Harber mentioned challenges and areas for growth in the steel industry. Baker was the first to put BLADE® on the story about Buderus apparently closing its primary mill for 10xx series steels. Coupled with the recent closing of Crucible on the stainless side (see our article on Crucible Industries closing), both Baker and Harber have been exploring new steel options in case their mainstays become unavailable. Vegas in particular is moving toward more cores of Nitro-V and Elmax and moving away from MagnaCut and XHP.

Vegas Forge team member Franklin draws out a 40-pound canister of stainless Raindrop-pattern damascus on the company’s 5B Nazel hammer.
Vegas Forge team member Franklin draws out a 40-pound canister of stainless Raindrop-pattern damascus on the company’s 5B Nazel hammer.

The hot new kid on the block is ProCut, the brainchild of a partnership between Larrin Thomas and Pop’s Knife Supply. Both Vegas and Baker are looking forward to pushing the limits of ProCut. As a high-alloy steel, when combined with Apex Ultra, the maker achieves high performance out of what looks like “ordinary” 1084/15N20 damascus. If you think of the difference in performance between 1084 and 52100 carbon steels, you’re on the right track. Baker Forge is currently in the lead on the ProCut “arms race” but Vegas Forge has steel in hand and is ready to go.

What fun new things can we expect in the world of damascus in 2026? Vegas Forge is entertaining a few recent orders that sound interesting. There’s a maker in Alaska using Vegas material to make high-end custom ice skates, and another customer using the company’s material to make stainless damascus computer keyboards. Who’d a thunk it? For those who enjoy a good picture show, Vegas has another top-secret project in the works. Think aliens with amazing damascus weapons and tools and you’re on the right track.

Take two leaders in the field like Baker and Vegas, factor in the demand for their top steels and add lots of innovation, and you get the makings of a really great year to come in the world of damascus.

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Cool Custom: Jon Christensen’s Mythical Undertaking

Guardian Sword proves a painstaking quest.

It’s easy to toss around the word epic and difficult to describe Jon Christensen’s recent work any other way. Of course, the subject material for his two-handed sword made it challenging for the results of the project to be anything other than mythical.

The Montana-based ABS master smith captures the ancient Greek myth of Perseus and Medusa in 16 hand-engraved iron panels inset into the 410SS handle and a bulino-engraved bronze shield on the guard of his Guardian Sword. Among other things, the handle features gold, bronze, copper, silver, custom alloy and mother-of-pearl inlay and is punctuated with Medusa’s head on the butt.

Jon Christensen
Jon Christensen

“The bulino engraving was very challenging as it was my first,” Christensen confessed. “There was a ‘paying my dues’ stage of time spent, which I just had to accept.”

It might be said that the entire project was an exercise in dues-paying. In addition to challenging himself with a new engraving technique, he was also delving into an unfamiliar subject. Christensen gave himself a crash course in the story of Medusa before conceptualizing the panels. But the client who commissioned the sword raised the bar on his retelling of the myth.

“Before starting on the project, the collector requested my interpretation of the story be approved by Tufts University, which is known for a strong program in classical mythology,” he said. “I compiled and submitted a document of the concept showing drawings and descriptions for each scene, as well as the overall sword. They replied saying, ‘It was a masterful interpretation.’”

The Guardian Sword handle, with the panels depicting the Greek myth of Perseus and Medusa.
The Guardian Sword handle, with the panels depicting the Greek myth of Perseus and Medusa.

The sword is reminiscent of the one featured in Benvenuto Cellini’s sculpture of Perseus, showcasing the same unique shape in its 37.5-inch W2 blade, with a hamon. While this aspect of the sword presented challenges, Christensen admits it was the easy part of the Guardian. Much of the 4,000 or so hours he dedicated to the work were focused on the handle, engravings and accurately retelling the ancient myth.

“The time on completing the blade would be measured in weeks, the handle scenes in years working under a microscope,” he said.
Epic, indeed.

“Yes, the scope of the project was very intimidating at times. I had to constantly manage my thoughts to the task at hand,” Christensen said. “As the saying goes, ‘How do you eat an elephant? One bite at a time.’”

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