A USA-made tribute to a quarter millennium of American freedom, limited to just 250 numbered pieces.
As the United States approaches its semiquincentennial, SOG Knives is marking the milestone with a highly exclusive tribute to American grit. The company has unveiled its 250th Anniversary Limited Edition SEAL FX Fixed Blade, a commemorative tool that honors a quarter-millennium of history, sacrifice, and resolve.
True to its heritage, this special edition is forged and assembled entirely in the USA. True to its name, production is strictly capped at just 250 individually numbered pieces, making it a true collector’s item.
Beneath the commemorative engraving lies a serious tool designed for professional use. The knife features a capable 4.3-inch blade forged from premium S35VN steel, known for its excellent edge retention and toughness. The handle is crafted from a durable glass-reinforced nylon, paired with an ambidextrous Kydex sheath that offers versatile mounting options for any loadout.
Whether it is destined for a display case or a survival kit, the 250th Anniversary SEAL FX is built to stand the test of time. It serves as a functional symbol of the values that have shaped the nation for 250 years. The limited-edition blade retails for $250. Given the low production run, interested collectors should act quickly.
SEAL FX SPECS Overall Length: 9.20″ Blade Length: 4.30″ Weight: 7.20 oz Blade Thickness: .19″ Product Family: SEAL Product Type: Fixed Blade Country of Origin: U.S.A. Finish: Black Cerakote Edge Type: Straight Blade Steel Type: CPM S35VN Blade Shape: Tanto Handle Material: Glass Reinforced Nylon Handle Color: Black Hardness: Rc. 58-60 Sheath Material: Kydex Sheath Color: Black MSRP: $250
Schwarzer’s blister busters and Terzuola’s effective efficiencies.
Editor’s Note: Jim Hammond has been a full-time knifemaker since 1977 and a member of the Knifemakers Guild since 1978. He was the first maker to work with CRKT and has many well-known designs to his name. This is the first of an ongoing column in which he uncovers the tightly held secrets of master knifemakers.
Welcome to Secrets of the Shop, where we dive deep into specific techniques and tips highlighted in the work of premier makers and knife smiths. While trade secrets often imply guarded formulas, for knifemakers, they are keystone discoveries that hone processes and perfect craftsmanship. This column seeks to turn these unrevealed secrets into shared solutions.
Popping Blisters
A veteran ABS master smith and BLADE® Magazine Cutlery Hall of Fame® member, Steve Schwarzer is probably best known for his pioneering work in the canister method of forging mosaic damascus. He is considered one of the finest instructors and ambassadors of the forged blade and of mosaic damascus, teaching at seminars and hammer-ins on the subjects for decades in Europe, South Africa, the USA and elsewhere.
During welding, a cold shut—a spot of incomplete merging of steel—can produce a trapped-gas bubble known as a blister. The spots where these void occur heat at different rates than the surrounding material and turn black. Often caused by worn and cupped dies, these blisters typically form along the billet’s perimeter.
Steve’s solution to addressing blisters is as follows:
Release the Gas: Punch a hole directly into the blister.
Flux and Forge: Drop borax into the hole and use a small rounding hammer to forge the area, pressing air out of the seam to recreate a uniform weld.
Refinement: Check the surface for flatness. Steve utilizes belt and stone surface grinders to achieve trued flats and maximize uniform contact.
To prevent blisters, Steve welds the edges of a billet before the center using a radiused fullering die. Going this route is less prone to create blisters than a flat die, though more apt to distortion. This technique was vital when Steve and Neil Kamimura created a million-layer billet that was folded rather than stacked, requiring the resolution of numerous small cold shuts.
Mosaic On A Budget
Schwarzer uses what he calls a “tiling” process with his canister damascus, sawing off the end to expose the image, and forge-welding them side-by-side to maximize the visual impact across the blade’s surface. (Steve Schwarzer image)
While CNC and EDM equipment can create intricate designs, a more affordable approach involves the sintering process of canister welding damascus, a method originated by Steve and Daryl Meier.
Steve’s canister process is as follows:
Composition: A square canister is preferred to maintain the image’s shape using flat dies. Content determines the pattern—solid metals form the primary image, while powder fill creates the background.
Preparation: Both ends must be welded shut to exclude oxygen.
Release Agents: To free the billet from the canister, Steve uses white spray paint; the titanium dioxide acts as an immediate release agent, oxidizing upon heating. Other options include White Out and stainless-steel foil.
Sintering: Steve recommends a soak time of at least 30-plus minutes. Expect a size reduction of roughly 30 percent as micro-spaces between particles collapse.
To expose the end-grain imagery, Steve uses what he calls a “tiling” technique. Band sawing sliced off the billet exposes the faces of the pattern. Then, forge-welding them side-by-side, he maximizes the visual impact across the blade’s surface. Note flat grinds are customary with this process, as deep grinding can distort the integrity of the imagery, especially with twisted materials.
For New Makers
Steve offers two foundational tips for those entering the craft. First bit of advice Schwarzer makes is to, “Avoid unknown materials, even if they’re free.” Without knowing the composition of “mystery steel,” you can never accurately repeat your results. He also suggests makers define their own path, saying, “Don’t chase anybody else’s dreams. Chase your own.”
Cutting Coupons
Bob Terzuola was a pioneer in using lasers and waterjets in his manufacturing process. Among the efficiencies he incorporated in using these tools was cutting what he calls “coupons.” These are simply uniform blade blanks and liner sections. Keeping a load of these on hand speeds up the manufacturing process, while maintaining the integrity of the knife. (Bob Terzuola image)
Known as the “Godfather” of the tactical folding knife, Bob Terzuola has been a full-time maker since 1980 and was inducted into the Cutlery Hall of Fame in 2023. His longevity in the craft stems from a blend of old-school design and modernized production efficiency. Terzuola was a pioneer in the mid-’80s, becoming the first maker to utilize laser cutting for components. Today, he uses waterjet cutting to create generic rectangular blade blanks and liner sections, which he calls “coupons.”
For the blade blanks, Terzuola profiles the rear area with the lock face, thumb ran and pivot/stop pin holes (roughed to 80 percent diameter). The rest remains rectangular, allowing him to incorporate any pattern with minimal grinding. Bob has his CPM 154 stainless steel blanks commercially surface ground to 0.135-inch before heat-treating them himself to HRC 59. For the liners—0.080-inch titanium in our discussion—the coupons are left square, containing only the pivot hole and the horizontal slot for the locking spring arm.
Notably, Terzuola grinds his blades after they are hardened. He argues grinding annealed steel can lead to warping during heat treat and causes the belt to gouge material. Grinding hardened steel, by contrast, is like slicing meat with a razor blade rather than digging dirt from a hole. Despite these modern efficiencies, he said he remains a “pencil-and-paper guy,” eschewing CAD for hand-drawn patterns to maintain design commonality.
Finishing Simplified
Despite modern efficiencies Terzuola has incorporated into his manufacturing process, he remains traditional in his designs. That is, he avoids CAD, instead using pencil and paper to hand-draw all of his knives. (Bob Terzuola image)
Bob’s finishing process for CPM 154 is remarkably lean. He utilizes a 90-durometer smooth-face rubber contact wheel and a simple two-belt sequence. First, he does a rough grind with an 80-grit ceramic belt, then finishes with a 3M Trizact A16 (1,200-grit) belt. He specifically avoids 60-grit belts, noting that their mesh size is twice as large as 80-grit, creating scratches that are twice as deep and significantly harder to clean up. To ensure blade-lock longevity, he now uses a heat-treated 440-C stainless steel insert in the titanium spring arm. This provides a steel-on-steel lockup, eliminating the wear issues common with titanium.
For New Makers
Terzuola encourages beginners to find their own niche and not get locked into a single model. He emphasizes mastering the fundamentals with hand tools: learn to tap holes, use files and sharpen twist drills. He and I agreed, new makers should also gain proficiency with mills, lathes and surface grinders to be old-school efficient rather than purely CNC-reliant.
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)
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)
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)
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.
From historic clashes to modern conflict, these fierce custom blades prove there is still a profound amount of art in the tools of war.
Since the dawn of man, the edge of the blade has been used to hash out disputes between everything from clans and tribes all the way to nations. While not the main battle implement in today’s conflict, the martial nature of the knife remains. This particular collection of fierce customs demonstrates there is a heap of art in war.
Caleb Ledford Long Sword
An electric 1084/15N20/mild steel Turkish-twist damascus defines the 31-inch blade of Caleb Ledford’s long sword. Lightening the sizable slicer’s load is a tapered fuller running on its midline. The handle is a pitch-black ebony, and the guard and pommel are cold-blued mild steel.
Jacco Van de Bruinhorst San Francisco Bowie
With matching blade and inserts, Jacco Van de Bruinhorst’s take on the San Francisco bowie is an elegant Barbary Coast brawler. The Canadian maker used ProCut/1084 to create what he calls a “snakeskin pattern.” If you study closely, the inserts harken back to the gold rush days with 24k gold inlay.
Jim Poling Dirk
Commissioned by a descendant of King James IV of Scotland, journeyman smith Jim Poling’s walnut-handled dirk appears freshly plucked from the highlands. The dagger boasts a 13-inch 1084/15N20 twist damascus blade, antiqued mild steel fittings and coin-edged nickel spacers.
Andrew Blomfield Pesh Kabz
Master smith Andrew Blomfield has taken more than one stab at the pesh kabz in his career, and lands the blow with this 11.5-inch bladed example. The eye-catching mosaic blade is contrasted by the very conservative tones of the purple gidgee handle and blackened steel bolster. A traditional flourish, brass blossoms are on the handle’s pins.
Michael Deibert Wakizashi
Alabama-based journeyman smith Michael Deibert brings traditional Japanese styling to life with this striking Wakizashi. The 18-inch blade features 1,100 layers of 1080/15N20 steel, paired with a wrought iron bolster. A classic stingray and an Ito-wrap handle complete the 28-inch overall build.
Nate “Tuna” Grant Pocket Fixed Blade
Nate “Tuna” Grant Pocket Fixed Blade
Journeyman smith Nate “Tuna” Grant delivers a compact powerhouse with the Defender. This 7.375-inch overall fixed blade features a 4-inch flat-ground blade forged from 1084/15N20 steel in a striking diamond drop pattern. The build is finished with rich Mun ebony scales.
Emmett Eitreim Dagger
Emmett Eitreim presents a refined 12-inch overall dagger featuring a 7-inch flat-ground blade. The steel is a striking rose pattern forged from 15N20/1084, complemented by a 954 aluminum bronze guard and pommel. A stabilized spalted maple handle completes this elegant, high-contrast build.
Check Out More Cool Customs:
Cool Custom: Tony Lewis’ Tribute Knife To Steve Dunn
Cool Customs: Rocco Nawrocki’s Knife For Sergeant Bunker
Daring little dagger takes a stab as a defensive secondary.
This was a challenging review. Not so much because of the knife, but the usual tests I do. I’ve focused mainly on the cutting ability of knives and a lot of what passes through my hands falls on the larger side. The Contingency Dagger from Colonel Blades is a small knife. On top of that, daggers are made for, err … penetration—I’ll leave it at that.
From my knowledge, the dagger would be excellent for a backup, self-defense blade. It’s light, concealable and with sturdy AUS-8 steel can and will penetrate. Right off, I like the overall feel of the knife, designed by veteran and author* Tom Marshal, and find the handle very well thought out. It comes with a Kydex sheath, fully adjustable for great security. But the way it shipped, it already had excellent positive lockup.
The Contingency comes with a Kydex sheath with a clip that make inside and outside the waistband carry simple and convenient.
All that said, no matter what a knife has to cut. I recommend that everyone test their knives to see how well they perform. It’s like going to a gun range with a new pistol—know its capabilities, both good and bad. I don’t like surprises and do not think you do either. Let’s find out the Contingency Daggers’ cut-abilities.
Light-Duty Cutting Tests
My regular bond paper was soggy after a rainstorm, so I used graph paper. It has the same thickness as 20-pound bonded, so it offers a comparable initial edge test. At first, the dagger ripped the paper, given that I approached the slices at too shallow an angle. Once I corrected for the knife’s steep grind angle, it cleanly shared the paper. The factory edge seemed like a 220-grit, sharp but not fine.
Next on the roster came thin cardboard, single-walled. The dagger quickly sliced through the material without any problems. The cut ends had a full curl to them because of the grind, which was expected. The diamond-shaped texture on the handle proved its worth here, giving the dagger a positive feel and great control.
The dagger quickly sliced through cardboard without any problems. The cut ends had a full curl to them because of the grind, which the author expected.
I grabbed some 8-ounce leather for skiving and the Contingency’s blade made nice crunching sounds as it parted the hide. It was easy to control the thickness of each cut as the AUS-8 blade steel found the medium it liked. While I had the leather out, I did some straight slicing. WOW! Here, the dagger cut aggressively. Again, the handle texturing made control easy.
Heavy-Duty Cutting Tests
I couldn’t resist doing a little whittling with the dagger. It made coarse curly cues after I adjusted the cut angle more steeply. After settling into a rhythm, the dagger comfortably shaved through. Using it in this fashion reminded me of a survival school trick for making the base wood for a hand or bow drill. A dagger excels at making these fast. I carried a small dagger for survival, they are excellent in the role, if you know how to utilize them correctly.
Not exactly designed for making push cuts, the Contingency nevertheless made mincemeat of ½-inch sisal rope.
I knew I would be taking a chance with 1/2-inch sisal rope, but I had to give it a shot. A lot of pressure is required to get a full cut on the material, and it made the edge prove its retention. The dagger gave a nice sounding crunch with 20 cuts. I switched to 1/4-inch braided cord, where it made 50 cuts in all. Not bad for this small dagger.
Overall Take
As a backup blade, the Contingency Dagger is phenomenal. I really enjoyed the handle’s texturing while cutting. The blade is wide enough to bring down the grind angle for a better cutting edge, or it could be hollow ground.
Harvey McBurnette etched his name in high-dollar knife sales.
Harvey McBurnette of Piedmont, Alabama, landed in the July-August issue of the 1976 American Blade for somewhat patriotic reasons. Somewhat, because the lead of Harry K. McEvoy’s exposé on the maker was McBurnette’s celebrated Bicentennial Bowies. But there’s more to the matter than a simple commemoration of the nation’s birthday in steel.
McEvoy hooks readers by showing what the artistically talented knifemaker’s work commanded back when your dollar went a long way. In 1976, the exact sum was $4,500. As McEvoy wrote, “[O]ne of his fabulous, hand-crafted Bicentennial Bowie knives appraised at that substantial figure after he had sold the weapon to a collector for $1,300.”
The lead image of the profile on Harvey McBurnette shows him studying his original knife design and free handing it to the steel. The maker had a strong artistic streak and was known, in part, for the embellishments he etched onto his knives.
For context, that’s roughly $26,000 in today’s dollars. What likely made the run of 76 bowies desirable was McBurnette’s unique system of adorning the knives—etching. This system, seen on many of his knives, was a very conscious choice on the maker’s part, as the story reports, serving to differentiate his work from other custom craftsmen of the day.
“I wanted to do something unique, or at least different, with my knives,” McBurnette was quoted as saying in the article. “And since I was an artist I thought if I engraved or etched my blade, I would add a touch I felt was needed to make them stand out. I chose the art of etching because there were a few other knife makers who engraved their knives. Besides, even a master engraver cannot do what an etcher can do.”
McBurnette’s Bicentennial Bowies had quite a motif etched on either side of their D2 tool steel blades. On one side of the 16.25-inch knife is an image of the Liberty Bell, and on the other a battle scene depicting Bunker Hill. The images are the same on all 76 knives, and 75 of them had elephant ivory handles. The knife appraised for the then astronomical sum did differ; the No. 1 of the series was a prototype with a walrus ivory handle.
Tips and tricks to get the most out of attending a knife show.
Magazines, websites, and social media only give you a two-dimensional look at a knife. Nothing replaces the experience of handling a knife in person. While the internet is convenient, it cannot match the visceral sensation of holding a knife at a show.
There are many knife shows across America. Some are big, like the BLADE Show, while others are smaller, regional events. All shows have one thing in common: custom knives. Makers offer blades in many styles, materials and price ranges. No matter the show’s size, you can gain an advantage—and get the knife or knives you want—by research.
Today, even smaller shows have websites or social media pages listing exhibitors. The exhibitor list will help you identify who will be at the show. Before every show I attend or consider attending, I go through this list, looking for both familiar makers and those of whom I am unfamiliar. In particular, I look for makers from outside the U.S. From this, I create my own list.
For unfamiliar makers, I visit their websites or social media pages to explore their knives. This research allows me to refine my list and home in on those I’m truly interested in. Once my list is complete, I prioritize the makers whose knives I want to see and handle.
The ladder damascus on Steve Randall’s 8” bladed fighter hits the right balance between understated and complexity. (Alison Randall image)
The floor map is another invaluable tool for show planning. As its name implies, it is a map showing the location of each maker’s table or booth. The combination of the exhibitor list and the floorplan provides me with the first advantage of my show game plan—time management. The other aspect it helps with is money management; researching gives me an idea of how much a specific maker’s knives will cost. I adjust my priorities accordingly.
Bargain Hunting
Knowing who’s at a show out of the way, the next step is to use the various social media platforms again to discover what the makers are bringing to the show. Many show off the knives they are planning on displaying and selling well before the actual event. This helps me identify style, materials and prices of which I’m interested. Often, this information also further helps prioritize my list.
Note, due to constraints imposed by some social media platforms, pricing is not always included in knife descriptions on these platforms. There’s an easy way around this, given that there is nothing wrong with sending the maker a message asking for the price. Realize, for many makers, pricing the knife can be as challenging as making the knife. But knowing the price allows you to compare other makers’ prices for similar work.
Becoming familiar with pricing across the spectrum of a particular knife sector—say, bowies, EDC or hunting knives—ultimately helps you get the best knife for your money. And the best value often is a new maker discovered during list research. I make it one of my goals to find a new maker whose work I am unfamiliar with at every show I attend. While I am not successful every time, many of the makers I work with today I found exactly through this method.
Personal Logistics
An homage to a classic design from BLADE Magazine Cutlery Hall Of Fame® member Bob Loveless. The author contends this is one of those knives you can only appreciate its lightness and quickness when it’s in your hand. (Karis Fisher image)
Research shouldn’t solely focus on the who and what at a show’s tables and booths. There is also a bevy of other factors to consider beforehand to make a show more pleasant.
It might sound obvious, but know where the show is located. Some smaller shows I have attended have been off the beaten path and difficult to find. I personally get frustrated having to hunt around for a venue, only to end up there after it’s already open.
Identifying the show hours is also crucial, as is understanding how most events organize their hours of operation. Most shows open earlier on the first day than on the second or third day. The inverse is generally true for closing—the last day usually ends earlier, especially for three-day shows.
It’s a good idea to also consider the restaurants you’ll eat at and the hotels you’ll stay in. The larger the show, the more crowded the restaurants and hotels. This is especially true with a large group; heading to a show with friends, plan on reservations for both room and board.
Don’t assume parking is right outside of the show’s location. That’s a recipe for trouble. Do your research and see if there is plenty of parking, where it’s located and, at some venues, how much it costs.
The final consideration is actually getting into the show—your tickets. If the show offers advance tickets, I recommend you purchase them before you arrive. You don’t want to be standing in line when the doors open.
Show Etiquette
Beautifully spartan, Mike Malosh executes an extremely clean hunter that’s built for dead-serious work. (Robertson’s Custom Cutlery image)
It should come as no surprise that those attending a show are focused on the knives they came there to see. But don’t let your focus make you into a poor or even rude show attendee. Here are some recommendations to keep in mind while at the maker’s tables.
When in doubt, ask for permission to handle a knife. Makers want you to; they just want you to do so respectfully.
If you have children with you, watch their little hands. They want to grab the knives just like everyone else.
Replace the knife where you found it. Set the knife down and don’t just drop it on the table.
For those knife fighters out there, limit your moves at the table. Those knives are sharp!
Don’t put your drinks, backpacks, bags, etc., on the maker’s table. Accidents happen, and no one wants a knife scratched or damaged.
Wait for your turn. At a crowded table, more than one person has been cut trying to grab a knife.
Jason Clack has a lot going on with his liner lock, from it’s 3.5-inch damasteel blade to black Timascus bolster and mammoth ivory scale. (Jocelyn Frasier image)
Take your non-knife-related conversation away from the front of the table. Don’t block the table from potential customers.
Everyone loves a deal, but no one wants to be insulted by a lowball price. Makers may adjust their price, but ultimately, that is their decision. That said, cash can tip the negotiation in your favor.
Ask as many questions as you like. Education directly from the maker is part of your admission price.
Here’s The Deal
Like the makers, dealers range from brand new to very experienced. Also, like makers, many have specialties. Unlike makers, they deal in the aftermarket. The prices they ask for knives, and are willing to pay for knives, are based on current market prices. Like many collectibles, those prices fluctuate based on several factors.
A stunner from GTC Enigma, the titanium-handled spring-loaded tab opener is lightning fast. Even at first blush, this pocket gem looks like it’s built for speed. (GTC Knives image)
Additionally, keep in mind that when trying to sell knives to a dealer, you walked up to their table. The price they offer you may not be what you were hoping for. There is no reason to swear at them, call them names or accuse them of low-balling you. I have turned down thousands of knives because I didn’t think I could resell them. It was as simple as that.
Plan For Success
Even with a three-day show like the BLADE Show, time quickly slips away. Having a plan to get into the event and to the makers, in turn, the knives you’re interested in ensures you’ll have a good experience. In essence, it comes down to time and money—be sure to get the most out of each!
Maker: Bob Earhart Model: Frame Handle Fighter Blade Length: 7.5” Overall Length: 12.3” Blade Steel: 5-bar Turkish twist damascus Guard Material: Blued 1018 Steel Handle Material: Mammoth ivory Leather Sheath: Custom-made by the maker Comments: The knife has excellent balance and handle ergonomics. The frame handle is forged to shape, revealing the pattern. Bob is an ABS master smith. His BLADE Show Table Number is 19S. Price: $1,700 Email Address:[email protected]
Maker: Steve Randall Model: Damascus Fighter Blade Length: 8” Overall Length: 13” Blade Steel: Ladder pattern Damascus Guard Material: Browned carbon steel Handle Material: Desert Ironwood Leather Sheath: Custom-made by the maker. Comments: Contoured guard and handle create a knife with excellent balance and comfort in the hand. Precise ladder pattern damascus, competent work from an ABS master smith. BLADE Show Table Number is 3R. Price: $1,800 Email Address:[email protected]
Maker: Steve Gatlin Model: Loveless Style Chute Knife Blade Length: 4.5″ Overall Length: 9.25″ Blade Steel: CPM 154 Guard Material: Stainless steel Handle Material: Exhibition-grade Desert Ironwood Leather Sheath: Custom-made by the maker Comments: Steve’s exceptional version of the classic Loveless Chute. Light and quick in the hand. BLADE Show Table Number is 7E. Price: $1,400 Email Address:[email protected]
Maker: Mike Malosh Model: Bear Hunter II Blade Length: 4.5” Overall Length: 9 1/8” Blade Steel: W-2 Guard Material: Stainless steel Handle Material: Leather Leather Sheath: Custom-made by the maker Comments: Excellent balance and handle ergonomics. Classic look. It is built for serious work. BLADE Show Table Number 6O. Price: $425 Email Address:[email protected]
Maker: Jason Clark Model: 77 Liner Lock Blade Length: 3.5” Overall Length: 8.12 Closed Length: 4.5” Blade Steel: Damasteel Bolster Material: Black Timascus Handle Material: Mammoth Ivory Opener: Flipper Lock: Liner Clip: Black Timascus tip up Comments: Sleek and smooth. Great lock up! BLADE Show Table Number is 12E. Price: $1,550 Email Address:[email protected]
Maker: GTC Knives Model: Enigma Blade Length: 4″ Overall Length: 9 Closed Length: 4.5″ Blade Steel: Stainless steel Damascus Handle Material: Titanium Opener: SLT (spring-loaded tab) Lock: Inset liner Clip: Titanium tip up Comments: Slick and smooth. Next-level construction and precision. This knife features screwless and toolless construction. WOW. Blade Show Table Number 19A. Price: $3,500 Email Address:[email protected]
