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We’re excited to introduce a number
of new feature columns in this issue
and welcome new reporters and
article contributors. One thing that
has always impressed me is the level
of skills and dedication demonstrated
by some of the young makers in this
country. In the last issue, we put Leila
Haddad in the spot-light, so in this
issue we bring to you another exciting
young maker from Sydney – Tim
Ford. We also bring you the first of
our new home-grown makers in a new
feature column “Readers’ Creations”.
Then we meet one of the most
experienced and qualified master
engraver, who shares with us his deep
carving technique while proving that
you don’t need to spend thousands
on tools and equipment. From half
way across the world, we bring you
news from the Atlanta Blade Show.
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We speak to the latest Aussie to attain
his ABS Journeyman Smith stamp
and follow his journey.
One of the most common questions
asked on the Forums and social media
is the current value of custom knives
people inherit from family members.
The fact of the matter is, knives like
most things in life have a fashion
cycle; while a few become highly
sought after classics, sadly most just
become superseded by the “latest and
greatest” offerings. Yes, it is possible
to buy knives as an investment and
see some healthy returns while
enjoying the hobby, it is vital to know
the market. The key is often in the
timing – knowing when to buy and
when to sell. Then, there’s also the
matter of storage and maintenance;
protecting your investment will
require regular cleaning and oiling
regime for both knife and sheath. We
live in a country of extreme climates,
and if the humidity doesn’t cause
rust, hot dry weather can equally
cause serious damage by drying out
and cracking materials. This is why
it’s not uncommon to see a vintage
knife in “unused” but nevertheless
poor condition. On the other hand, a
lot of factory made knives appreciate
in value as collectors are seeking
discontinued models. Price is always
reflecting the condition, as most of
these tend to be in stainless steel so
are easier to maintain. Military
knives on the other hand tend to be
a safe, long term investment; WW2
bladeware in particular has seen a
steady growth in popularity with
collectors and the current prices
reflect this.

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When I first decided to start sharpening
professionally, I ran across all sorts of myths and
misconceptions. I believed and fell for many of these,
because on the surface, they seemed like common sense.
I still remember those days, and it was amazing that the
more I researched how to get a keener edge the more
misinformation I came across.
So I wasted a bunch of time and money, just like
thousands before me have undoubtedly done.
For something so basically simple that people have been
doing in one form or another for literally thousands of
years, I find perplexing the pervasive permeation of
blatant misinformation and ignorance in the knife
sharpening lore. I don’t know if there is really anything
comparable.
Myth – The best edge angle is 40-50°for chopping, 30-40° for
cutting, and 20° included for slicing.
Fact - The truth is that the best angle is the thinnest
possible edge for the cutting task.
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The antique wootz swords in
my collection that still have a
battle-ready sharp edge show
around 18-20 degrees
inclusive on a laser
protractor. For best
performance the knife edge
must have the lowest angle it
can hold; give your edge the
least possible angle while not
over-thinning the edge past
the angle at which it deforms
in its intended cutting tasks.
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This has been proved by Cliff Stamp (cliffstamp.com), by
our BESS-SET experiments on edge rolling in mainstream
knives (knifeGrinders.com.au), and by CATRA tests on
high-end steels done by Larrin Thomas
(knifesteelnerds.com).
Myth - Coarse edge cuts better.
Fact - The “micro-serrations” concept contributes to the
confusion as people tend to generalise properties of the
serrated edge onto the microscopic level of a coarse edge.
A coarser edge does slice better initially due to “micro-
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serrations”, however studies have shown that the coarse
finish is associated with increased grip force, cutting effort
and cutting time, and worse edge retention – the knife
dulls faster as the “teeth” get broken off or bent to one
side or the other. In precise cutting and carving
unpolished bevels cause traction in cuts and lower
accuracy and quality of cut.
Myth - Steep edge angle has better edge retention.
Some have also speculated that shallow edge angles start
out sharper but a steeper edge lasts longer. And that
reducing edge angles decreases the longevity of the cutting
edge.
Fact - In reality, shallow angle stays considerably sharper
and maintains this performance advantage for the
duration of both CATRA and BESS-SET cutting tests
across various blade steels.
Take for example hardened felling axes– they are
sharpened at 25° inclusive and sharp enough to shave with.
Myth – Too fine an edge dulls quicker.
A common misconception is that sharpening a blade
beyond a certain point is useless, and that the edge that
is too sharp will dull fast.
Fact – For best cutting performance, the edge should
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always be sharpened to the sharpest possible apex.
Experiments in cutting tests have shown that the best
cutting performance is achieved by knives with the best
initial sharpness.
Sharp apex does not predispose the edge to rolling. Rolled
cutting edges are a result of over-thinning the edge beyond
the optimal angle which is required for the intended
cutting tasks.
Myth – Convex grind aids in edge retention.
The reasoning is that the edge apex needs enough “meat”
to last, and that the edge will dull quicker where there is
not enough material behind it to give it strength.
Fact - Wood splitting and bone chopping are the only
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tasks where the convex edge is advantageous. These
blades don't cut well with a hollow grind, because the
shape of the bevel "stops" the force of the stroke, and it
also may lack the support required for an edge subjected
to heavy impacts. For most other every day applications,
a convex edge is less than ideal. Yet “survivalists” would
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argue, that if left with only one knife, the convex edge is
superior - if I were left to survive in the woods, I’d rather
have a hollow ground knife and a hatchet.
Myth - Super steels hold a super-sharp edge.
Fact - The initial blunting rate is relatively rapid
regardless of steel. With high-end, wear-resistant steels,
edge sharpness quickly moves from the shaving range to
just “sharp”. Though wear-resistant edges win in the long
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run, they lose their initial keenness almost at the same
rate as a mainstream steel. High-end knives win over
mainstream as stayers, but they are equal sprinters.
We’ve seen this in both in our BESS-SET tests and CATRA
tests done by Larrin Thomas, let alone the real life.
Myth – Knife manufacturers sharpen at an angle optimized
for the best performance.
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Fact - If the knife comes with a warranty, the
manufacturer applies the edge angle which will make
repair returns as unlikely as possible. In other words, the
factory edge is optimised for abuse, not cutting.
Where there is no clear replacement policy, the edge angle
can be anything no matter what the knife’s purpose is.
We’ve checked edge angles on slicing, filleting, carving,
sticking and boning knives made by leading professional
knife manufacturers – any of these knives could have any
angle: 30, 32, 34, 36, 38, or 40° included, seemingly with
no reflection to the knife function.
It is normal for knives with distal taper to have edge angle
slightly increasing from the heel to the tip to maintain a
uniform bevel. However, you can hardly call it “normal”
when you see edge bevel higher on one side than the other
on a production knife. On some of the manufacturers’
videos on YouTube and Instagram, you can see knives
being sharpened freehand, with no angle guides to
maintain consistency.
Myth - Cheap knives are easier to sharpen.
And every so often I run across a customer asking for a
discount on sharpening his junk knives, reasoning that
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the knives cost him less than would sharpening. Video
gamers “collectible” knives are also in this category.
Fact - Those inferior steels are easier to grind, but that
shiny stainless steel is a pain to de-burr. Getting rid of the
gnarly burr these cheapo knives usually produce is so
difficult that you can clean the edge apex only at the cost
of rounding it.
In response to your efforts the highly malleable burr just
keeps bending back and forth like a green twig - without
snapping. To get rid of this metal you take a higher and
higher angle, gradually realizing that in the process of
removing the existing burr you're also drawing new metal
out past the apex and creating a new burr – we call this
mutant burr and Burr Zilla. Overall, sharpening junk
knives can be extremely frustrating.
Myth - Japanese knives must be sharpened on Japanese
natural waterstones.
Fact- The demand for natural Japanese sharpening stones
comes mainly from the traditional sword polishers, while
chefs prefer synthetic stones. The Japanese synthetic
stones are made of the same common abrasives used
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can produce an edge apex of 0.1 micron (in the safety razor
range) on a 300 grit abrasive, though with a significant
variation in the apex width along the edge.
Factory edges never come polished, and when they are
sharp, they are the best proof that edges don't need a fine
scratch pattern to be scary sharp. However, in refining the
sharp edge, the honing compound grit size and the scratch
size are related by about an order of magnitude: e.g.
honing/stropping with a 0.5 micron abrasive refines your
edge finish to 0.05 micron. Fine grits are used to improve
the edge finish and keenness for effortless cutting, but
not the sharpness as such; a more refined edge also holds
up better.
Myth – Mirror edge is not worth the effort.
Fact – A picture is worth a thousand words. This photo is
unedited, taken in daylight. The mirror finish is so perfect,
that the blade blends with the reflection almost
seamlessly.
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elsewhere outside Japan like aluminium oxide, silicon

carbide and chromium oxide. What makes them “Japanese
waterstones” is the technology of fusing the abrasive
particles in a porous matrix – but even this is becoming a
thing of the past. Nowadays, less and less of the Japanese
synthetic stones require soaking in water for use, and
more and more resemble non-Japanese sharpening bench
stones that should be stored dry and used with just a
splash of water on the surface.
Myth – Finer abrasive grit correlates with sharper edges.
Fact - There is little correlation between the abrasive grit
size and apex width you achieve with it. For example, you

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The American Bladesmith Society
was founded in 1976 by Bill
Moran and four other
bladesmiths for the purpose
preserving and promoting the art
of blade forging through
education and certification.
Today, with the ever growing
popularity fueled by popular TV
shows like “Forged in Fire”, more and
more makers from all around the
world are striving to receive
accreditation to this prestigious
organization. There are three levels
of certification: Apprentice Smith,
Journeyman Smith (JS) and
Mastersmith (MS). In this article we
follow Barry Kennedy the latest
Australian to receive his JS stamp. To
achieve this he will have to pass a set
of tests that measure his ability to
make a knife that will not only
perform to a remarkable level, but
will exhibit a level of fit, finish and
design that is among the best in the
world. He would need to forge a knife
that will pass a set of performance
tests as well as submitting 5 knives
for judging by a panel of 7 ABS Master
Smith judges at the Atlanta Blade
Show.
The reason I embarked on the JS
journey:
The high standards and the strict
testing criteria to achieve the rating
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of JS and MS have made the ABS the
best organization of its type in the
world and draws members from
around the globe. ABS members are
some of the best knife makers in the
world and regularly win awards at the
biggest knife shows such as Blade
Show.
It is also a way of testing yourself to
see where your skill level lies
compared to some of the best makers
in the world. More and more makers
are going down the ABS path for
various reasons. Some may see it as
recognition, some may see it a
business move or a way to sell more
knives. I was inspired by the work of
mastersmiths after studying their
work and seeing the performance
tests and what can be achieved from
a custom-made knife.
I always knew I could make a knife,
anyone can make a knife with simple
tools. But being a knife user and a
collector, I wanted to make both hard
working knives as well as high-end
knives that people may want to
collect. I set myself a challenge to
work on improving my skills to a
point where I could pass the
Journeyman test. This challenge soon
turned into an obsession to pass that
test!

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With the very tough testing criteria
people who buy custom made knives
either for use or collecting know that
a knifemaker who has passed the ABS
Journeyman or Mastersmith tests is
capable of making a knife to the
highest standard.
My story:
Growing up in a small country town I
had been using for hunting and
collecting knives since I was a kid but
it was from the time I started using
knives for a living as a butcher, boner
and slaughterman that I first
developed an interest in knife making.
I tried my hand at making a couple of
knives from old saw blades and sheep
shears with only basic hand tools
around the early 2000’s. I did not
have access to the internet in those
days so there was very limited
information available and those first
couple of knives were very basic. I
joined the AKC (Australian Knife
Collectors) and it was in their
newsletter that I saw an
advertisement from Keith Fludder
teaching Bladesmithing. I changed
jobs and moved states but I always
wanted to do that Bladesmithing
course and forge knives. I slowly
gathered all the tools I needed to
make knives but it took another 10
years. It was after I had moved back

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to my home town and set up my shed
with knifemaking tools that I finally
booked that course with Keith
Fludder and forged my first knife! I
have been making knives and
learning the trade ever since.
I first heard of the ABS through
collecting knives around 2008 where
I saw the work of ABS Mastersmiths
on the internet and learned of the
testing criteria it takes to make the
grade. But it wasn’t until I saw a video
of the JS performance test and saw
what performance was achievable
from a custom-made knife that I
wanted to embark on the JS journey.
So, in early 2014, I joined the ABS
along with the ABS forum and started
researching what I needed to do to
pass the ABS Journeyman Smith
tests.
I was hungry for knowledge and keen
to further my skills to get to a level
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where I could pass this test. I’d
bought several ABS DVD’s on topics
such as grinding, attaching handles
and guards, Damascus steel, leather
work and judging standards. I studied
every set of knives passing the JS test
that I could. I spent a lot of time on
the ABS forum searching topics and
asking questions. I attended every
Australian blade symposium I could
and asked questions from top makers
such as Australia’s own ABS
Mastersmith, Shawn McIntyre. I
attended a 3-day kitchen knife course
with Bill Burke MS in 2015 where I
gained so much valuable knowledge
on all aspects of knifemaking and
quizzed Bill on what was required to
pass the JS test. I attended the 2-
week ABS introduction to
Bladesmithing course in 2017 run by
Bill Burke MS, Keith Fludder JS and
Bruce Barnett JS. This course was a
full 2 weeks of forging, heat treating
and discussions on every other aspect
of knifemaking. This course also took
one year off my apprenticeship time
but by this time I had already been an
apprentice smith for 3 years. I learned
a lot in those 2 weeks, had a great
 $XVWUDOLDQ.QLIH,VVXH$XJXVW2FWREHU
time and met some great mates in the
process.
It was before the start of the ABS
course that I passed my JS practical
test by cutting the 1” hanging rope,
chopping 2 x 4x2’s, shaving my arm
and then bending it past 90 degrees.
I was reasonably confident before this
test as I had done a lot of testing at
home and had piles of rope and
chopped pine laying everywhere. I
forged and heat treated 3 identical
knives from the same bar stock and
tested 2 at home before taking the
third knife for testing. I also brought
4 completed knives for Bill to check
and see where I was at with my fit and
finish etc. Although I had spent time
with Bill before and consider him a
good mate it was very daunting
handing my knives to a world class
Master Smith who has spent the last
20 years making knives for a living.
Bill’s feedback on these knives was
priceless. Regular feedback both good
and bad from a Mastersmith is
essential if you are planning on taking
on the JS path. Sometimes the
criticism can be hard to take when
you have spent so many hours on a
knife that you are proud of only to
have someone highlight all the flaws,
but this is what is required, honest
feedback. You then need to go and
work on the areas for improvement.
After I had passed my practical test I
then spent over a year just working
on my fit, finish and making my
knives look as clean as possible.
Over the 4 years since forging my first
blade it had become an obsession to
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pass this test, to the point where I had
people interested in buying my knives
but I would not take any orders. I
figured, I was working full time and
wasn’t desperate for cash, so I would
sell them after I had passed the test.
I spent hundreds of hours working on
my fit & finish, trying to make them
look as clean as possible. Sometimes
I would finish a perfectly good knife
that I was happy with, only to get a
scratch on the blade from a stray bit
of grit. This would have failed in JS
testing so I would grind off the
handle, knock off the guard and start
again. Before I went to Atlanta I had
only fully completed around 30
knives but had around 50 blades
ground and heat treated with handles
in various stages, around 20 blades
forged to shape and several billets of
Damascus and San Mai steel sitting
around the shed. I work away from
home for up to 4 weeks at a time and
had a number of setbacks on the
journey, including health issues that
sapped the energy out of me for
several months. By that time I had 4
knives to a standard I was happy with
packed away for testing, only to find
small spots of corrosion on the blades
when I unpacked them. At this point
I thought I had plenty of time to work
on one special knife for judging, but
found myself again knocking off the
handles and guards and starting
again.
For my test knives I did not try
anything fancy, instead
concentrating on clean, simple
designs, balance, symmetry and
overall fit and finish as clean as I
could possibly achieve, with no visible
gaps. By the time I was ready to go to
Atlanta, I had 7 knives I was happy
with. I oiled the blades, waxed the
handles, wrapped them in VCI paper
and packaged them adequately
enough to survive a plane crash. I
didn’t want anything to happen with
those knives in transit! While in
Atlanta, the day before judging, I
showed my knives to two Master
Smiths who had previous experience
judging and an Aussie and received
positive feedback. This was a big relief
but I was still nervous about the test
the next morning.
The judging room:
The judging room doors open at
07:30 on Friday morning of the Blade
Show and close at 08:00. Seven
Master Smith judges voted on the
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knives of 13 applicants and each
would leave a ballot paper with a
“pass” or “fail”. There is also a
comments section where they could
leave their remarks. The long wait
outside the judging room was very
nerve wracking, but I was fortunate
to have some very good mates waiting
with me for support. Even though I
had received positive feedback on my
knives the day before, I was still very
nervous. After what seemed like an
eternity (in fact less than an hour),
the applicants were called in one at a
time, to where one of the Master
Smiths was standing by the
applicant’s knives. When it was my
turn, I was greeted by Joe Szilasky
MS, standing at my knives. He
informed me that I passed, shook my
hand and then showed me some areas
for improvement. I packed away my
knives and walked out of the judging
room with the biggest feeling of relief.
My mates were still there to
congratulate me on my success. As it
turns out, of the thirteen applicants
submitting for the test that day, at
least three were not successful.
Later that night at the award
ceremony, we received our JS
certificates and JS stamp. You can tell
by the photos that I was very happy
and had been celebrating for several
hours at the bar before the ceremony!
It was a very proud moment for me
to receive the rating and join the elite
group of ABS Journeyman Smiths.
The next steps for me to
becoming a MS:
I am currently enjoying a short,
relaxing break from knife making and
the stress of the tests. However, I’m
already planning to try a few different
styles of knives and finally finish
some of the billets of Damascus and
San Mai which are still laying around
my workshop. I am still hungry for
knowledge so I also plan to spend
more time learning from guys like Bill
Burke, Shawn McIntyre, Keith
Fludder, Bruce Barnett and hopefully
other Mastersmiths. There is a
waiting period of 2 years before you
can test for Mastersmith but I will not
be rushing to try and achieve that
stamp! I still have a lot to learn. I will
however, practice with some
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Damascus blades to get to a level
where I can pass the MS practical test.
From there, it will take some time and
practice before I attempt the art
quality Quillion dagger (which is part
of the requirement). I am trying to
get myself into a financial position
where I can have 3 to 6 months off
work to concentrate on raising my
skill level. If things go well and I
spend enough time learning from the
other MS, I may be ready in 2 years.
Recommendations for others that
want to go down the same path:
Ɣ Get regular feedback from a MS,
put your pride aside and take all
feedback on board, good and bad.
Ɣ Clean, clean and clean. This is the
common theme I got when
studying what the judges wanted
to see. They want to see clean
work.
Ɣ Don’t try and impress the judges,
they have seen it all before and
there is nothing that a JS
applicant can do that will impress
them. They are looking for clean
work so give it to them.
Ɣ Read the ABS rules and testing
criteria but don’t read anything
into the rules. The ABS have a
testing criteria DVD that I found
very helpful.
Ɣ Give yourself enough time and
don’t rush. I thought I had plenty
of time but ended up rushing to
finish off my knives.
Ɣ Study the ABS style, such as Bowie
knives, hunting knives etc. Study
the pictures of other passing JS
test knives. One well designed
knife with a minor flaw may pass
provided the rest of your set is
okay but a poorly designed knife
with a minor flaw will fail you. You
can make whatever style you want
once you have passed the test.
Ɣ Practice for your practical test
until you can pass it comfortably
at home before committing to the
official test. You will only waste
your time and the Mastersmith’s
time if you are not ready.
Ɣ Use steels that you are very
familiar with.
Enjoy the journey!
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Back in February of 2017 I participated in the ABS
Introduction to Bladesmithing course taught by
Master Smith Bill Burke, at Eveleigh Works in
Sydney. Bill and I got along pretty well and it was during
the course that Bill had mentioned to me that a group of
Aussies made the trip to the Blade Show each year and
that I should consider going. Bill also extended an
invitation to stay at his house following the show but that
is another story.
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Over the months following the ABS course I kept in
regular contact with Bill and the seed that was planted
grew into a reality and before too long rooms and flights
were booked. I was going to join the other Aussie makers
but as a visitor, not a seller so that that I could enjoy the
show to its fullest. I had been warned that it would be hard
to see everything in the weekend. I honestly had no
comprehension of just how big the show would be.
About a month out from the trip, and not long before the
Melbourne Knife Show I was contacted by Bill with an
offer I couldn’t refuse - a table had become available next
to his and I was asked if I could manage to take a dozen or
so knives over to sell. Yep, I had just gone from tourist to
vendor in the course of a few moments. Kev’s Forge would
be showing at Blade. Now I was nervous and excited.
On the 30th May I made my way to Sydney and met up
with Bruce Barnett, Mark and Christine Sinclair, Jason
and Tom Weightman and Ali Bastian. A few pre flight
drinks were inevitable of course - to settle the nerves. We
flew QANTAS to Dallas Fort Worth and then onto Atlanta
from there. We met Bill at Atlanta airport and made our
way to the hotel. Bill had organised transport and it felt
like we were in the Presidential motorcade in the huge
black SUV’s.
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The Renaissance Atlanta Waverly
hotel was pretty impressive. All of the
rooms surround ‘the pit’ - the place
you gather for drinks after the day is
done at the show. We dropped our
bags off and hit the bar. It was
Wednesday night so pretty quiet but
I was still introduced to a lot more
people than my jet lag would permit
remembering. Everyone was friendly
and there seemed to be a lot of catch
up between the regular attendees.
The Thursday after breakfast was
when we were able to get our vendor
passes and see the show venue for the
first time. There was a party
atmosphere about the place and it was
only the set up day for the major
vendors and sellers. I was like a kid in
a candy store. I was told that the
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venue would look small because of the lack of tables and
booths - oh how wrong they were. The venue was massive,
for those that have been to Sydney Knife show it was at
least four times the size - well over 700 tables. For table
holders this was the day that you got to have first crack at
the handle materials and other goodies on offer. A bit of
a feeding frenzy for mammoth ivory, antler, stabilised
timbers and a lot of other rare (and expensive) items. It
blew my mind what was available.
The festival feel continued that night as the numbers of
makers/sellers increased. It was a party full of knife
minded people from all over the world and it was
awesome. It was a great feeling to be a part of something
so big and the partying continued well into the night.
Friday we set up our own tables (which included time for
a quick look around the place) and the show was open to
the public from around 1pm until 7pm. Kind of strange
for those of us that have had a table at an Australian show.
I had 13 knives in total, all hunting/outdoors knives. Next
time I go, I will take a mixture of kitchen and hunting
knives, unfortunately with the late notice on having a
table I had to make do with what I had.
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First hurdle to get over was pricing. This wasn’t a simple
thing. My first time at Blade as an ‘unknown’ maker, I had
to price my knives so that I’d attract buyers. It wasn’t as
easy as a quick look around the table close by as the prices
and styles were unbelievably varied. Second hurdle was
how to engage the public to have them stop and look at
my knives. Unlike show goers in Australia that will stop
and have a chat without any coaxing I felt like I had to
engage with the US crowd in order to get them to stop and
look. Once the ice was broken with a quick “G’day” they
were happy to stop, look and have a chat.
As impressed as I was with the numbers on Friday it was
Saturday that blew my mind. I had no idea what to expect
and the crowds grew as the day progressed. Lots of talking
to the crowd and the other makers around me. I did
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manage to get out for a look and caught up with Robert
Herbert over at the Willmont stand and did a reasonable
amount of networking - there were too many people to
get the chance to stop at every table I’d have liked to. The
day was exhausting - jet lag didn’t help any. One of the
highlights of the day was meeting my friend Geoff Feder
of Feder Knives in person. We’d talked via Instagram a bit
and were both looking forward to catching up in person.
The other was seeing a friend and customer from Australia
who was in Atlanta for work. Hearing that Barry Kennedy
passed his Journeyman Smith was icing on the cake.
Saturday night in the pit was unbelievable. It was shoulder
to shoulder with people. I met too many people to name
but a few notable ones you’re likely to know were Trollsky,
Mareko from Maumasi Fire Arts, Don Nguyen and Todd
Begg. Mert Tansu was over for Blade and after the two of
us sat next to each other at the Melbourne show it was a
cool feeling to have drinks and a laugh on the other side
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of the world. It didn’t matter who you talked to or where
they were from in the world that night, everyone was in
party mode. Saturday night did get a little crazy and I did
end up having a few random arm wrestles - yes, I won.
LOL!
Sunday wasn’t as busy but having said that it was still far
from quiet. The day went on with more networking,
talking and sneaking in the last of the looking around at
the rest of the show that I could manage. The day went by
fast enough and soon the
show was called to a close and
the venue organisers were in
dismantling things. Blade
Show was over!
Sunday night myself and a few
of the Aussies had dinner and
drinks in a bar called Murphs,
another night full of food,
cheap liquor and laughs.
Monday morning was pretty
hazy at best and for a few of
us that were continuing to Bill &KDQFHIRUDSKRWR
ZLWKZRUOGUHQRZQHG
Burke’s place it was another
$OOHQ(OLVKHZLW]
day of internal flights and
airports. Not too exciting to say the least.
So, would I recommend going to Blade show? Absolutely.
In hindsight it would have been enjoyable to have had free
time to try and see all of the stuff around me as a visitor
but the opportunity to be a seller was a no brainer under
the circumstances. It was true what they said, it’d be hard
to take everything in over the weekend with the free time.
Every person I met over the weekend was welcoming and
that added to the positive experience. I’ll definitely be
looking at going over again. I’m an apprentice with the
ABS so in the next couple of years I’m hoping to pass my
Journeyman Smith also.
$XVWUDOLDQ.QLIH,VVXH$XJXVW2FWREHU

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By Corin Urquhart
7,3¶1
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If you have been following this series of articles you

will now have a basic understanding of the
interaction between iron and the various elements
the make up the alloys of steel we use to make
knives.
If you go by the title of the article we are drilling down to [[ 3ODLQ&DUERQ0QPD[
discover the “Best Knife Steel”. This is in fact not possible
to do. Not only is there an almost infinite array of alloying [[ 3ODLQ&DUERQ0Q²PD[
elements and steel alloys, there are countless variables in
heat treating and there is also an almost infinite number
of applications for these alloys within the knife industry.
There are three main things that make a good knife great
(when it comes to performance of the blade). 0RRU0RDQG6
[[
1) Steel Choice >@
2) Blade Geometry and
3) Heat Treating [[ 0RRU
Arguably you could also include corrosion resistance in
that list.
The problem here is you may have the very best steel for
the particular knife application you have, but without the
correct heat treat and the best blade geometry you won’t
&URU0R
have a good knife, let alone a great one. [[
RU
Conversely it is possible to make a great knife from a less
than perfect steel selection by ensuring a suitable heat
treat and edge geometry.
As discussed in last edition’s article it is the alloying
elements in the steel that give the steel its characteristics.
When buying steel however you are often confronted with [[ 1L&U²0R
an array of letters and numbers which on the face of it do
not mean very much. There are probably many alloy [[ 1L&U0R
identifying numbering systems for steel found in
Australia. These can be SAE (Society of Automotive
Engineers), European Standards, British Standards, ISO, [[ 1L&U0R
JIS (Japanese Standards), DIN Standards (German) and
GB Standards (China). There are also a host of alloy
designations named by the various manufacturers. When
in doubt, an internet search will return the chemistry of [[ &URU
just about any alloy.
SAE is the most common system used in the USA and as [[[ &U&PLQ
such is also found extensively in Australia.
In this system for alloy steels, generally we have a four or %[[ &URUDQGDGGHGERURQ
five digit number. The first two digits identify the alloy
designation and the last two or three digits give the [[ &URU
percentage of carbon in points.
So for example 1084 is a 10XX plain carbon steel with [[[ &U&PLQ
0.84% Carbon. 52100 is a 52XXX series chromium steel
with 1.00% carbon. %[[ &UDQGDGGHGERURQ
Many other alloys are common in this series, for example:
5160, 4140, 1075, 1095 and 8670 [[[ &U&PLQ

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performance. And realistically, any alloy sold as a knife
steel is perfectly capable of performing any blade related
6KRFNUHVLVWLQJ 6
task with a suitably adapted heat treat, albeit not to its
full potential.
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Heat Treating for Beginners.
0 0RO\EGHQXPEDVH This is really simple. Seek out and find the steel
manufacturer’s recommendations. Follow them. That’s it.
Doing so will ensure a very good result every time. Once
+²+FKURPLXPEDVH you have invested in high end measuring equipment for
+²+WXQJVWHQEDVH hardness and toughness, by all means start having a play
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with times and temperatures. However, until you have
EDVH
access to the equipment to measure the results of your
own heat treating schedules, rely on the hundreds of hours
3ODVWLFPROG 3
and hundreds of thousands of dollars of testing
equipment invested in by the manufacturer. In almost all
/ /RZDOOR\ instances it really is a safe bet.
6SHFLDOSXUSRVH
) &DUERQWXQJVWHQ Soak Times.
There are two main reasons in industry for soaking steel
Example: at temperature before quenching or annealing. The first
W2 Tool steel is the second alloy in the series of water is to ensure that the entire piece of steel, through to its
hardening tool steels core is at the correct temperature. This is not really an
H13 Tool Steel is the 13th alloy in the Hot Work steels issue in knifemaking given the thin profiles. The other
(having a chromium base) reason is to ensure all alloying elements are “in solution”
In selecting a material for your blades we cannot tell you within the steel matrix when the steel is at temperature
what will be best but we can make a series of and in its austenitic form.
recommendations to ensure you have the very best In the previous articles we discussed alloying elements
possible chance of success. and their effects on a steel’s properties. We briefly
discussed the crystal structure known as Cementite or
1) Select a steel with properties that best match the Iron Carbide. Carbides are, or at least can be, a
characteristics required for the intended application knifemaker’s friend, they are incredibly hard crystals
of your knife. Consider the importance of hardness, within the steel matrix. They can increase wear resistance
toughness, wear resistance and ease of sharpening. but when not in the right proportions or size can also
2) Heat treat the steel in accordance with the cause negative effects.
manufacturer’s instructions. Cementite (Iron Carbide) and Carbides formed with other
3) Do not rely on tempering temperature tables to alloying elements need two things to go back into solution
give the hardness. Measure the hardness, both post to reset the steel to full austenite. Time and temperature.
quench and post temper. Hence we need to soak at higher temperatures for longer
4) Select an edge geometry suitable for the intended times as is the case with many martensitic stainless steels.
application. Generally manufacturers will recommend soak times and
these will often be for thick sections of steel, however they
If you get the above correct there is no reason you will not are often there for the reason stated above.
end up with a fantastic result. If the result is not what you In the next article we will look at the phase diagram for
expect however, do not be too quick to judge the steel. steels and TTT curves and perhaps clear up some of the
Steel selection is just one factor in the knife’s mystery behind the crystal structures of steel.

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Marecello was born in central Italy before moving to
Milan to start his engraving apprenticeship. First learning
how to make his own hammers, chisels, steel punches and rotary
tools. Every student was first required to make their own tools
as part of the apprenticeship. A few years later he started his
ILJ
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own business catering to large printing
firms, hand engraving plates for printing
and embossing packaging for high end
fashion products. In 1972, Marcello
moved to Melbourne, briefly working
with printing and awards companies,
engraving dies for badges and
medallions. During this time he
displayed his gun work at various gun
clubs around Melbourne.
Later, in 1978, he was sponsored to work
in the USA where he had the honour to
be certified as a Master Engraver by the
Worcester Art Museum School of
Massachusetts. It was there that
Marcello connected with a renowned
wildlife artist Mr. Guy Coheleach to
ILJ reproduce some of his famous paintings
into engravings on his personal firearms (Fig 1). This lead to a
cooperative project between the two artists and Buster
Warenski - one of the most famous knifemakers of the 20th
Century. The result is the "Cape Buffalo knife” (Fig 2). A high
relief Cape Buffalo inlay on stainless steel blade. During this
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period, Marecello was trusted to engrave knives and firearms

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produced by some of the most revered US makers. His work was
published in numerous prestigious publications around the
world, including: “Guns and Ammo”, Abbiatico's "Incisioni delle
Armi Sportive", Sports Afield as well as Italian, American and
Australian newspapers. He also exhibited works at major US
shows in N.Y, Philadelphia, Salt Lake City and Las Vegas to name
a few. In 1985, a year after teaching a hand engraving course at
the School of Visual Arts in N.Y City, he returned to Australia.
He was once again in high demand for work such as engraving
dies for coins and medallions (Fig 3). On firearms and knives,
Marecello’s designs are inspired by the Victorian, Edwardian
and Gothic periods and Wildlife in general, trying very hard to
impart a character of uniqueness to each object he engraves. His
preferred engraving techniques are carving and relief work.
Working with hammer and chisel, gravers, rotary tools and
pneumatic chisels, Marcello prefers to make his own tools or
adapt other instruments rather than the expensive commercial
gravers that most of his counterparts are expected to use today.
His signature on knives can be found in the ricasso area or under
the knife handle, depending on available space and agreements
with the knife maker or knife owner. Upon completion and on
client’s request, the work is accompanied by a certificate
attesting the originality and uniqueness of the engraving.

,PSURYLVHGWRROVLQWKH ABOUT THE AUSTRALIAN CROCODILE KNIFE

KDQGVRIDPDVWHU (Centerfold)
”I met Peter Bald a few years back for the first time at the
Melbourne Knife Show and was immediately impressed by his
knife work with clean, precise lines. When the idea of the
Australian Crocodile subject came to mind, I immediately
contacted Peter to commission a suitable knife. I am grateful
for his cooperation and help on this project.”
The “show side” of the blade depicts a Salt Water Crocodile while
the reverse is the Fresh Water Crocodile.”Engraving the
Crocodiles on the blade in high relief was quite involved,
particularly because each crocodile tooth (too many!) and
body-scales texture. I spent about 8 working days carving both
crocodiles using a combination of hammer and chisel, pneumatic
chisel with carbide tip and finishing with hand gravers. The
engraving of the bolsters took only 3 days but the planning of
the design took much longer as I wanted to incorporate a
crocodile tail blending it into the stylised design.”
Marcello Pedini

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The most liveable city in the
world for the 7th year running;
what is it about Melbourne that
makes this place so special? This
is not just a beautiful city, it’s
friendly, exciting, fun loving and it
knows how to play host to some of
the most spectacular and unique
events in Australia. This is the
sporting capital of Australia, with the
F1 GP, Tennis, Golf etc. Fashion to
food, shopping to night life, even
coffee and pizza are renowned the
world over. But that’s not what draws
the knife minded people here every
year on the first weekend of May. On

this weekend, Melbourne becomes

the Custom Knife Capital of Australia.
Hosted by the Australian
Knifemakers Guild, this is the only
official Australian Knifemaker Guild
show in the country and it’s a proud
celebration of the custom
knifemakers’ craft. You will not find
any production made knives here,
just hand made knives from the
leading and most aspiring knife
makers this country has to offer. Also,
making a strong presence were some
of the most popular manufacturers
and suppliers of ancillary equipment

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and consumables to help makers of every level along the
journey.
2018 marks the 25 year anniversary of this iconic show
and only the fourth year at its current venue in Attwood,
in the shadow of Tullamarine International Airport. Over
the last few years, this show has been steadily gaining
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popularity and growing in numbers both from exhibitors
and attendees. This year, with concerted effort,
spearheaded by a few dedicated members and some
generous donations for social media competitions, this
year was undoubtedly the biggest and most successful
event of recent years. With over 570 visitors through the
doors over two days and 143 custom knives sold (in other
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words, nearly 1 in 4 visitors), brought real credit to the
makers present as well as a great indicator of the level of
dedicated collectors that this show attracts.
This year was also significant, in that three long standing
members have been nominated to be recipients of Life
Member awards. Peter Del Raso was chosen due to his long
standing membership (Peter participated in the very first
Guild Show 25 years ago), as well as his ongoing role as
State Rep and mentor to many Victorian makers as well
as ongoing support to the Guild in various committee
roles. His work has always been of the highest calibre,
elevating the bar of quality hand made knives in Australia
to truly World Class. Peter Bald was the second Life
Member recipient, for his past roles as President,
Secretary and State Rep for South Australia during his 20
years membership of the Guild. Peter Bald is also the
organiser and host of the Adelaide Knife Show (with the
help of his lovely wife Maxine). Doug Timbs was the third
recipient of this highest award, recognised for his 20+
years membership and important roles within the Guild
as the President, State Rep for Queensland and other
committees. Doug’s artistic flare and impeccable quality
has earned him numerous awards over the years.
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One of the really satisfying aspects of collecting items described as having been in the boxes, a clasp knife
military bladeware is the research that you get was not one of them.
involved in. There was one reference when referring to shortages, that
Some time ago I researched the story behind the WW1 a knife was substituted. But the knife is not described and
knife known to collectors as the Red Cross Gift Knife. must only have been in very small quantities.
This clasp knife has a single blade, a tin opener and jigged
bone scales (fig. 1). The blade is about 2.75” (70 mm) long ILJ
and with the blade closed is about 4.125” (110 mm)
overall. They are a sturdy, well made knife and many
Sheffield makers are found among them.
The story that follows these knives is that they were not
military issue but were included in gift parcels distributed
by the Red Cross during WW1.

ILJ

The IWM also informed me:

“Having conducted a preliminary search, I'm afraid
I could not locate any examples of or information
about clasp knives that were issued as part of a gift
set.”
A gift box was issued by Queen Alexandra but this was
only issued to Household Regiments.
References were found to other unit specific gifts and
civilian-based gift tins that contained chocolate and/or
smoking supplies and/or writing materials.
No clasp knives were mentioned in any of these.
There was a gift tin issued to Australian troops by the
I discovered very quickly that the Red Cross connection Australian War Contingent Association, London (fig. 3).
was a furphy. The only parcels distributed by the A clasp knife was not among the gifts distributed. Mostly
International Red Cross during WW1 were Comfort the gifts they gave were to improve the soldier’s comfort.
Parcels to POW’s. The Australian Red Cross Society also
distributed Comfort Parcels to Australian troops, but
these went to troops who were wounded and in hospital
or to those who were POW’s,
So, was it in another gift tin/box?
The main contender was the Princess Mary Gift Box (fig.
2), intended to be distributed to all serving personnel for
Christmas 1914. The Imperial War Museum (IWM)
provided a lot of information. The Gift Boxes were made
of brass and were supplied primarily with cigarettes and
tobacco in them. There was also a box for non smokers
and a version for nurses (chocolates and candy) and other
versions taking into consideration the ethnic background
of the troops they were to be issued to. Amongst all of the ILJ

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Chris Pollendine, a long time collector

of gift boxes made these observations: ILJ
“I have collected soldiers gifts for
years, but have never come across
any reference to your knife at least
not in the context of British gifts,
which is my field.” “I can state that
Queen Alexandra's gift never
included a knife.”
In relation to the knife substituted in
the Princess Mary Gift Box, when there
were shortages he observed: “What
sort of knives are not mentioned. I
have found a couple attributed to gift
tins and these have been very tiny
pen knives (3" approx.)(fig.4)
certainly not your knife.”and “they
all had issue clasp knives anyhow why
bother? “
Finding out what clasp knives were
issued to Australian troops was not
easy.
The Recruits Companion dated June
1918 which was given to all new members of the AIF collecting these knives for over 30 years has yet to find
describes “Knife, clasp, with marline spike, tin opener” any with verifiable military acceptance markings.
(fig.5). This description fits the pattern 6353/1905 clasp Joe Sweeney discovered that lack of W/l\D stamps is not
knife (fig. 6). This establishes what was being issued an indication of not being purchased by the Royal Army
towards the end of the war, but not the early stages. Clothing Depot (clasp knives were considered an item of
clothing), as not all items so purchased were stamped.
I have observed that many pattern 6353/1905 clasp knives
ILJ in collections do not have acceptance marks. Perhaps too
much emphasis has been placed on this point!
At this stage I was of the opinion that the term Gift Knife
was a misnomer. That the name had come about because

ILJ

For a long time it was believed that the Gift Knives were
not a military pattern. Another researcher, Joe Sweeney,
provided information that the Gift Knife was in fact
pattern 8173/1914 (single blade, tin opener with jigged
bone handle) and was indeed a British issue knife. Joe also
discovered an issue scale for the British Expeditionary
Forces that states that knives without marline spike are
to be issued to Infantry (and other dismounted troops).
The absence of any legitimate W/l\D stamp has caused
collectors confusion. As a result, for many years it has
been the belief of many, that the pattern 8173/1914 clasp
knife was not an issue item and that the only explanation
for it to be in the possession of soldiers was that it was a
gift. Lawrie Wilson an Australian collector who has been

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collectors believed that unmarked clasp knives were

not an issue item and could only be explained as gifts.
A breakthrough!
In March 2015, I received an enquiry from Trevor
Williams whose great uncle, Fred Messer, was killed
at Gallipoli. One of the four items returned to the
family was a pocket knife that had been handed out
as a Christmas gift to AIF troops in Egypt by the High
Commissioner of Australia to the United Kingdom,
Sir George Reid prior to the Gallipoli landing. Trevor
asked if I knew of these knives and was hopeful I
could provide an image that could be circulated
among the relatives to find if Fred’s knife still
existed.
Trevor directed me to an article from the Nepean
Times (Penrith, NSW) Saturday 20 February 1915
ILJ
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which featured an article “Letters from

the Front” which included excerpts
from letters written home by local boys.
This article contained the most useful
piece of information yet found in the
letter from Private Fred Messer:
“Private Messer gleefully refers to
the visit of Sir George Reid, and says
that the High Commissioner's (Sir G
H Reid) present of a pocket knife to
each of them (allotted by the
Commonwealth Government) as a
Xmas Box, was much appreciated.
Over 10,000 knives had been given
out, and more to follow, at the time
Private Messer despatched his
letter."
Trevor also provided a small photo of
Fred Messer showing a clasp knife
attached to his belt (fig.7).The
enlargement (fig.8) while not very clear
certainly appears to be the pattern
8173/1914.
It is quite logical that after these knives
were gifted to the diggers that they
simply became known as Gift Knives
and the story became a little confused
as time passed.
Red Cross Gift Knife = No!
Australian Government Christmas Gift
to the troops = Yes!
The moral of this story is: never accept
on face value what you get told about
bladeware. It is not uncommon to
encounter misunderstanding and
misinformation. Always remain quietly
sceptical and seek provenance and
verifiable information.
Happy collecting.

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After speaking with a lot of knife makers over the
last few years, most of which told me when it comes
to putting holes in leather for stitching they use a
drill. Coming from a leather work and saddle making back
ground, this is like swearing at me! So, I wanted to explain
the correct way to saddle stitch and why drilling is not the
best option. It may seem easier to drill, but it will resulting
consequences are not great.
Firstly, by drilling you are removing material from the
leather and as a result making it weaker.
Secondly, by having round holes your stitches won’t lay
evenly. If your holes are on the larger size, the may not lay
end to end in a straight line but may end up laying like
bricks.
And thirdly, if the holes are smaller, your stitches may
lay end to end in a straight line on the front; however if
the drill bit is that thin, it can flex and deflect the exit hole
on the back. So, the stitches on the back side of your work
will be a mess.
And never use a single needle to go in and out to the end
and then back, this looks terrible and is very noticeable to
any experienced leather worker.
Correct saddle stitching is very neat, tight, strong
and looks good!

By using the correct

tools, saddle stitch is not
that hard and there are a
number of books and
videos on the subject to
help you.
I start by having my work
lying flat on my bench,
marking my stitch line
either with a “stitch
groover” or a pair of
“wing dividers”. Make
sure to mark both sides
of your work (front and

back). The stitch

groover will remove a
small channel in the
leather and allow the
stitches to be
countersunk into your
work. This is useful if
the finished piece will
be subject to a lot of

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Ɣ Place your Awl through the first hole (staying on the

line at the back)

Ɣ As you pull the Awl out follow it with your first needle.

Ɣ Pull the needle through and find the centre of your

thread.

Ɣ Place your Awl through the second hole, follow it out

with the opposite needle

Ɣ Pull the needle through past the knot, holding the

tread to the back of the hole place your second needle
through in the opposite direction.
wear. The wing dividers will mark a line on your work; this Ɣ Before you pull the second needle though completely
will help you align your stitch holes. take one wrap around this needle with the thread
Next, I will use glue or double-sided tape to join all of the from your first needle, this will create a knot and as
layers of my piece together. Then, with either a stitching
you pull on both needles this knot will cinch down
chisel or pricking iron, proceed to make your stitch holes
into the centre of your work. If you continue to do this
by taping the chisel through your leather making sure you
stay on the line and keeping the chisel upright. on every stitch it will lock your stitches and prevent
Depending on the number of layers in your job the chisel them coming undone if a stitch wares through over
may not protrude all the way through (don’t worry about time and breaks.
that at this stage). Once you have made all of your holes
Ɣ Continue to the end of what you want to stitch.
and are ready to start stitching, place your work into a
stitching pony or saddlers clamp. Ɣ Once at the end you will need to back stitch through
Measure out the amount of thread you will need. A good the same holes at least three stitches, pull them down
rule of thumb is 6 x the length you want to stitch. Place snug and cut off nice and close. (you can put a spot of
one needle on each end of the thread and tie it on. There
glue on the cut end of the thread to prevent that last
are several ways to do this, but this is the method I use,
stitch from coming undone over time.
as it places the knot further down the thread and away
from the eye of
your needle.
By using a
d i a m o n d
shaped blade of
a sewing Awl
that’s the same
size as your
chisel, you will
be able to
complete any of
the holes all the
way through
your job. The
Awl will follow
the hole made
by the chisel,
but be carful to
make sure you
come out on the Ɣ Then finish off by either running an overstitch wheel
line you made with the same stitch spacing over your stitching and
earlier. This this will help even out your stitches or place an offcut
way you will of leather over your stitches and lightly tap with a
ensure a neat
hammer, this with flatten out your stitch line.
stitch line on
the back of your Good luck and remember: the more you practice, the
work. quicker and better you’ll get at it!

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Sometimes, a knife lands on my desk
that raises an eyebrow. This was my
initial reaction when I first set my
eyes on this month’s review knife.
Let’s just get a few things clear, straight
off the bat; let’s acknowledge the obvious
so we can move on with the rest of the
review. No, this is not your “every day
knife”. Yes, it is made in China. Yes, it
does have sharp looking “claws” that look
anything but ergonomic. So, now we have
that out of the way, we can take a closer
look at this beastie, discuss the pros and
cons and figure out who would buy this
knife and why.
People talk about the “unboxing
experience” these days (thank you Steve
Jobs for your lasting legacy), and Real
Steel Knives (RSK) does nicely in this
department. Ok, there’s no fancy
“whoosh” sound, nor is there a bespoke
aroma when you remove the lid, but
inside the foam lined box, you get the
warranty, assembly instructions,
embossed cleaning cloth and the Relict
also comes with a “birth certificate”. You
certainly get the impression that you’ve
got your money’s worth, but we’re here
for the knives, so all that stuff gets
quickly pushed aside as the new sharp
and shiny toys beckon for attention.
The “Relict” is flagship model in the new
premium range, from a brand that a few
years ago may have been described as
“affordable”. This knife is a testament to
the brand’s commitment to quality and
design improvement. Like it or hate it,
the fit and finish on this knife is hard to
fault. At a time when everything old is
new again, this folder carries some classic
lines and timeless design elements into
the 21st century. Starting with the
lanyard hoop that swings like a shackle
on an old clasp knife but then hides away
discretely. Bead blasted Titanium frame
boasts rounded edges and subtle scallop
cut outs to aid access to the thumb studs
691
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and lock bar. Marbled carbon-fibre scales
are comfortable and look very modern.
Also, nice to see that the machined lock
bar relief on the inside of the frame,
leaving the outside smooth. The deep
carry pocket clip is reversible and the
knife is “lefty friendly”, but tip down only.
The jimping on the back of the blade and
frame feels great, and a bold, full length
“fuller” is machined on both sides of the
S35VN blade. Full flat ground blade has
long straight “belly” with a slight drop
point tip and full length distal taper. Out
of the box, this was one of the sharpest
blades I’d ever tested, scoring between
80-120 BESS, and remained “shaving
sharp” after doing a dozen heavy duty
rope cuts plus cardboard etc. In the words
of a famous TV show judge, “This blade
will cut”!
If you didn’t already recognise the
function of the “horns”, you have no
doubt already glanced at the photos and
realised that this knife acts as a shell
extractor for 12G shotgun shells. At the
same time, I’m sure that like me, you’ve
also said to yourself “yeah, but every
shotgun made in the last 100 years or so
has extractors or ejectors built in. What’s
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sometimes hook on your jeans’ pocket, yet positioned a bit too

close to the frame and some people will have difficulty
overcoming the rather strong detent. Also, this is not a cheap
knife, so a lot of hunters unfortunately would probably overlook
it; while the “horns” make this a bit uncomfortable for others.
If you’re looking
(UJRQRPLFV for a nice EDC,
utility type blade
0DWHULDOVIHDWXUHV around the
home or work,
)LW ILQLVK this knife may
not be the most
the point of this?” However, those that reload their own shells $HVWKHWLFV comfortable
(yes, apparently in 2018 some people still reload 12G shells!), option.
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these have a tendency to flare out at the end after discharge and
may need a helping hand to get them out of the chamber. So
this knife finally makes sense, this is a thoroughly thought out
and very effective “hunter’s pal” for the 21st century! Not the
best EDC (those horns are not the easiest thing to live with,
even in tip down position), it’s a knife designed to appeal to the
hunter or sporting shooter looking for something with a bit of
class. And if you’re wondering about the unusual slotted screws,
apart from the “Olde Worlde charm”, the pivot screw is designed
to take a 5c coin to adjust (great in the field, as long as you
remembered to bring a 5c coin with you!).
There are a few drawbacks, however, that are worth noting.
Most of the knives in my EDC rotation are tip up carry, so Relict
feels a bit odd, but those “horns” would tear up a pocket to
shreds if it were a “tip up” clip. The shiny steel pocket clip is a
bit clunky and feels like a “parts bin” addition on an otherwise
well designed knife, a milled Ti clip would be far more appealing.
Dual thumb studs are long and skinny; long enough to

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 $XVWUDOLDQ.QLIH,VVXH$XJXVW2FWREHU

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Flynn Sharp is based in Perth Hills and has been making
knives for less than three years. Although he has made
other fixed blades, he gets the most satisfaction out of
making good quality kitchen knives. The challenge of good
edge geometry and HT involved in these is what keeps it
interesting.
Blade:
Hand forged from sis1880 steel aprox 63hrc
180mm, 45mm wide, 2.3mm thick at the spine with distal
taper ground to approx 0.15mm with forge finish retained
on spine.
Rounded spine and choil.
Handle:
Carbon fiber all round with red paper Micarta liner
130mm long, 20mm tall, 15mm wide.

Patrick Kennedy (Paddy) is a boilermaker/welder. He

lives in Singleton WA, and has been making knives for
about 12 months.

Blade:
Odins Arms composite Damascus billet which is profiled,
ground and heat treated. 200mm blade and 320mm o/a.

Handle:
Llace She Oak from Aussieburls International, G10 liners
and 416 S/S pins and a duplex S/S lanyard tube.

Ben Anderson has been making knives for about 18

months. He now has a business called NV Blades and is
making custom order knives which he enjoys immensely.
Every order is a different challenge or learning curve,
something new to try or a different technique to learn.
He is striving to get his fit and finish as close to perfect as
possible, which seems to be a never ending journey, but
one that he’s loving.
Blade:
The blade is in W2, differentially hardened and mirror
polished.
Handle:
Stabilised and resin filled banksia seed pod with resin and
titanium spacers and phenolic paper ferrule. Along with a
stained Tasmanian oak saya with a carbon fibre and
matching green resin pin.

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A kit or re-handle is how most people start on the
path to knife making. It’s fun, rewarding and you
learn a lot along the way.

And what better way to introduce a mate to this hobby

than to put together a kit on a rainy Saturday. The “Scandi
Chef 205” comes courtesy of Creative Man. 315mm overall
length, the blade is a classic Scandinavian design chef’s
knife hand made in France. Blade came already hardened
and shaving sharp.

The great thing about putting together a kit, is the

personal touches you get to put on it; aside from the choice
of handle materials, you get a chance to modify it to suit
your personal taste and needs. With this knife, we decided
to modify the handle slightly to get rid of the little notch
behind the ricasso to give us a bit more handle area (Fig
1a, 1b). For handle material, we chose Juma Ivory Snake

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 $XVWUDOLDQ.QLIH,VVXH$XJXVW2FWREHU
(synthetic material), black liners and
Corby bolts – all supplied by Creative
Man.
1. Glue fibre spacer material to the
handle scales using 5 minute epoxy.
Shape and bevel the front of the
scales (Fig 3), as this area is very
difficult to work on after they’re
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attached to the
blade.
2. While scales are
drying, we use the
time to re-profile the
handle by removing
the notch behind
the ricasso (Fig 1b).
Not an easy task due
to tight area that is
difficult to access
and working on
hardened steel.
Remember to cover
your blade with
multiple layers of masking tape, this sander and files. Care must be taken
protects the blade AND your hands not to over-heat the pins on the belt
while you work on it. sander (Fig 4). Some of the areas on
3. Drill holes in scales. the lower part of the handle are
4. Glue scales and pins to blade. difficult to access without a very small
Using “corby bolts” requires the wheel on the sander. This is where a
additional step of counter-sinking good file comes in handy (Fig 5).
holes in the scale. However, I find it 6. Hand sand with sand paper,
easier to work with and there’s no starting with 180 grit, finishing on
need to hammer (peen) them, so 800.
there’s no risk of cracking the scales. 7. Final polish on the handle with
Having access to a good press drill Autosol.
made this process much easier (Fig2). Visit www.creativeman.com.au for
5. Grind/file scales to profile of lots of really cool knife kits and
blade. Shaping the handle on the belt supplies.
 $XVWUDOLDQ.QLIH,VVXH$XJXVW2FWREHU

%\$XWKRUV1DPH
<281*0$.(56

7LP)RUG and an old hair dryer. Then it was all

downhill from there. I remember the
first time I’d heated up metal and
moved it (even though it was just a
little bit), it was like I discovered my
super power. And it was amazing! My
parents saw how much I loved it and
they decided to book me into a course
at Tharwa Valley Forge. It was a 40
degree Summer’s day and they’d
hoped that the heat would sweat my
desire for the craft out me - it didn’t.
I loved it, and kept on forging! For my
birthday that year, I got a nice new
gas forge, which I still use today. Now
I make knives for people all across
Australia and occasionally even
overseas. I still occasionally go back
Tucked away in Sydney’s Tim remembers those early days, “I to Tharwa to work for them. I recently
Sutherland, working out of a wanted to experience what I’d seen in did a month-long internship with
modest converted single car videos. When they finally let me, I got them, where I taught some junior
garage of his parents’ house, out and started to collect things that blacksmithing classes and helped out
you’ll find our young maker I could use to make my charcoal forge. with knife making courses”.
working in his Ford Forge. By the I found brake drums and metal tubes,
time this magazine goes to print, Tim
will be celebrating his 17th birthday –
but he is hardly your typical teenager.
Balancing his school work, social life
and bladesmithing requires strong
discipline, dedication and time
management. This is something that
most adults still find challenging, but
commitment and drive for excellence
keeps this teenager well on track.
Tim first expressed the desire to forge
when he was only 12 years old. He
bugged his parents for over a year to
let him start. They were
understandably worried about the
risk and dangers of hammering red-
hot steel; apart from the obvious fire
risk, there is also the ever present
danger of serious personal injury.
Before they were fully aware of the
craft of bladesmithing, they were also
concerned that their son was
potentially going to make something
illegal. But eventually they caved once
they saw how persistent and
dedicated he was to learn the craft.

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This young man draws his inspiration from some of the
great Australian knife makers like Mert Tansu, Tristone,
Dmitriy Popov and James Oatley to name a few. They
produce the quality of work that he is aspiring to. Tim’s
main focus is on Japanese inspired
kitchen knives, so hidden tang with
WA handles. He mostly forges with
1075 high carbon steel as well as his
own Damascus (pattern welded).
Recently he has been enjoying
making knives from billets made by
Odin’s Arms Forge. It’s high quality,
hand-made in Australia yet very
affordable, which is what he’s aiming
for. For handle materials, Tim
generally prefers to use dyed and
stabilised woods from Outback
Timbers, mainly due to their
gorgeous appearance and superb
durability.
In his workshop, Tim’s most used
tools include the Noob grinder, 84 Engineering disk
sander, drill press and handle broaches. In the near future,
he is looking to add a kiln in order to heat treat his own
stainless steels as well as provide more even temperature
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control, giving the customers highest quality blade heat
treatment. To date, he considers his most rewarding
project a 220mm VG10 “K-tip Gyoto”, with Huon Pine and
Bog Oak handle. The handle was a western handle which
was a first for him. The blade was quite large, and required
extra vigilance to make sure that the whole blade was fully
“soaked” in preparation for the quench.
Most recently, Tim attended his fourth show - the
Australian Knifemakers Guild (AKG) Melbourne Knife
Show. ”This show was completely different to all the other
shows I had been to. Over the two days I got to talk to
other knife makers and I learned
a lot! I also got to talk to my
customers and meet people who
have been following my work for
a while. It was great to meet some
of these long term friends in
person. All in all, I sold 17 knives
and received a few commissions,
which I think is pretty good for
my first AKG show. I entered into
some of the competitions but got
absolutely thrashed by the other
makers’ works. But that’s ok,
because I got to see what I need
to improve and will do better
next time!”
There are also plans for some
more affordable, production style knives in the
future. These would be water-jet cut Nitro-V blades with
heat treatment out-sourced. However, Tim will still be
doing all the grinding and finishing work as well as
handles.
$XVWUDOLDQ.QLIH,VVXH$XJXVW2FWREHU

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