Damascus Steel - FPGA-FAQ

http://www.dfoggknives.com/damascus.htm 

Damascus Steel 

Laminated Damascus steel had its origins in the early days of the iron age. It was found that by folding 

and welding iron in a carbon fire you could produce steel, a hardenable iron product capable of 

producing superior tools and weapons. Nearly every culture in the world developed some form of 

laminated steel. There are Viking era swords extant that clearly show intricately developed patterning. In 

Malaysia, the kris is renown for its complicated laminated patterned steels. Perhaps the highest form was 

developed in Japan. The Japanese through a process of forge welding wrought iron and a high carbon 

product called tamahagane produced swords of exceptional quality and beauty. An excellent reference 

for the background history of Damascus is found in A Search for Structure, by Dr. Cyril Stanley Smith, 

MIT Press. 

In Germany, during World War II a great many Damascus steel blades were made for the military, but it 

was not rediscovered in this country until the 1970's. Bill Moran introduced the first Damascus blade to 

the knife collecting world at the Knifemakers Guild show in 1973. There were others working with this 

"new" material at the time as well and after a hammer in Lumpkin, GA where it was demonstrated, Daryl 

Meier returned to Carbondale and began his life long research into the mysteries of this process. A book 

that greatly influenced me was Decorative and Sculptural Ironwork, by Dona Z. Meilach, published in 

1976 by Crown Publishers, Inc. 

This book featured the work of Bill Moran, Robbin Hudson and the "Damascus research team" of Daryl 

Meier, Jim Wallace, present curator of the National Ornamental Metals Museum in Memphis, Tennessee, 

and Robert Griffith. The chapter on Damascus steel provided a starting point for working with this steel 

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and inspired me and many others to begin working with it. My first lesson on making Damascus came 

from a meeting with Jim Schmidt at Jimmy Fikes shop in 1978. Jimmy showed us how to forge weld a 

billet and we were off. 

Pattern Development 

The patterns that can be developed in the steel are endless, but they currently are broken down into a few 

basic categories. 

Straight laminated billets 

"W's Pattern" Don Fogg 

The billets are made by cutting and stacking layers of different steels together and welding them into a 

solid piece. This piece is called a billet. This billet is then drawn and cut into two or more pieces, 

restacked and welded. The number of layers in the final billet will depend on the number of distinct 

layers in the initial billet and the number of times it is folded and welded. Each fold is a geometric 

progression 4,8,16,32,64,128,256,512 etc. Howard Clark has done some studies and has determined that 

after two folds the carbon has been evenly dispersed through out the billet and it is for all intents a 

homogeneous piece of steel. Optimal for pattern development in straight laminated billets is between 300 

to 500 layers. Going the next step to 1,000 layers makes the pattern too fine and staying under 300 it 

appears wide and bold. There are exceptions to this and it is a matter of taste, but this is my page and my 

opinions. Once the billet has been welded there are several basic patterns that can be developed. For a tip 

on welding up thin stock billets click hyperlink to Shop Tips 

Wood grain: Wood grain is the pattern that results from forging the billet to the shape of the blade. It can 

be directed, but mostly it is left to reflect the hammer blows the smith imparts as he creates the blade. I 



left wood grain patterns for years, but recently have come back to them with a greater respect for their 

natural reflection of the metal and seemingly organic patterns. The very best wood grain patterns hold 

many surprises for those who are willing to look. The steel does not look imposed upon. 

Twist patterns: Twist patterns involve usually a lower layer count in the billet. The billet is drawn into a 

square or round cross section and then actually twisted hot. The development of twist patterns was at its 

height during the hey day of the Damascus shotguns. These guns represent some truly incredible 

craftsmanship and creativity. Twist patterns work nicely in blades too and there are many variations that 

can be developed from the basic twist. The twist has the distinguishing character stars that are revealed 

whenever it is cut into. 

Incised patterns: Incised patterns are created by starting with a straight layer billet and cutting into it. As 

a cut is made into the billet it exposes a cross section of the layers. When the billet is reheated and forged 

flat again, the bottom of the cuts are brought to the surface and the cross section is revealed. The most 

common incised pattern is the ladder pattern distinguished by tightly space rungs or bands running across 

the width of the blade. 

Straight layer billets may be patterned by using any number of 

combinations of the various techniques i.e., it can be incised, twisted, and much more. One technique that 

I like is called jelly rolling the billet. Starting with a low layer count, seven layers for instance. Make the 

weld, draw the billet out until it is roughly 1.5"x.25" and how ever long it draws out to. Cut off any arc 

weld material on the end of the billet, taper the end slightly thinner than .25" and start to scroll it back on 

itself. Heat and roll it up, keeping it as tight as possible without being obsessive. When you finish, you 

will have a jelly roll of steel. Cut the roll off the handle and reweld the handle to the edge of the roll and 

weld the billet solid. You will have to roll the billet in the direction of the scroll to tighten it as you weld 

with light blows. Once it is solid, you may draw it out and continue to fold and weld as you would a 

normal billet. Or you may draw it out, square it up and cut and stack to make scrolls on the end grain of 

the billet. The possibilities are endless. 



Robbin Hudson 

Often the best patterns fall on the end of the billet. There are various ways of getting this pattern to show 

on the flats of the blade. Going back to the basic patterns, you can cut into the billet and where ever you 

cut through the end grain, the pattern will show. If you want complete coverage you can make alternating 

cuts in from either side of the billet and unfold the cuts. This method is called accordian the billet and it 

maybe done with a hot cutter or by cutting on a bandsaw. 

Another method of revealing the end grain is to stand the billet on edge and cut into on a diagonal. This 

will make a long slice across the end grain and expose the pattern. The pieces are then reversed and 

rewelded into a solid piece with the now exposed end grain showing on the outsides. This method will 

give total exposure for the end grain pattern, but also distorts the pattern by nature of the long diagonal, 

the effects can be quite interesting. 

Mosaics | Forge Welding | Etching | Contrasting Steels 

Home|Bookstore|Available|Feedback|Back 

Don Fogg Custom Knives 

Copyright © 1997 Don Fogg Custom Knives. All rights reserved. 

Revised: April 04, 2002. 


History 

Knifemaker's Bookstore 

History 

Bookstore | Afterhours | History | Metaphysical | Metalworking | Music to Forge By | Home 

To ignore history is to miss out on the connection we share through our craft with the 

experience of our forebears. Much of who we are and what we do can be traced to the affects of 

the past. I have always felt like knifemaking opened a doorway to the past and made history 

come alive. I will offer books that I have found to be helpful and enlightening. I hope that you 

will enjoy them. 

The Archaeology of Weapons : Arms and Armour from Prehistory to the 

Age of Chivalry by R Ewart Oakeshott 

The Book of the Sword by Richard Francis Burton A classic. 

Glossary of the Construction, Decoration and Use of Arms and Armor in All 

Countries and in All Times : Together With Some Closely Related Subjects 

by George Cameron Stone This is a must have standard for every knife library. It goes in an out of print 

and according to Amazon it will be offered again come January 2000. It is a thorough collection with 

photographs and descriptions of nearly everything. I have worn out one copy and am well on my way 

through my second. 

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History 

Three Roads to the Alamo : The Lives and Fortunes of David 

Crockett, James Bowie, and William Barret Travis by William C. Davis This book has just 

been released and is causing quite a stir among the Bowie historians. It confronts some popularly 

accepted notions of the Bowie legend and will stimulate debate for years to come. It is a well researched 

and documented book that reads like a good story. 

Greece and Rome at War by Peter Connolly Excellent book covering the 

weapons, armor and tactics of that era. Very useful books for edge weapons development. 

A Search for Structure : Selected Essays on Science, Art, and History by Cyril 

Stanley Smith 

Wonderful reference with articles on Damascus and a perspective that keeps me coming back to it for 

rereading. 

A History of Metallography : The Development of Ideas on the Structure of 

Metals Before 1890 by Cyril Stanley Smith.The books by Dr. Smith are excellent references and 

offer a wonderful perspective on the history of metal working. 

On Damascus Steel by Leo Figiel. A great resource book on Damascus steel, patterns 


History 

etc. 

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Books Music Enter keywords... 




Revised: June 30, 2002. 


Bookstore 


In association with Amazon.com and Knife World Books, the following books are available for 

direct purchase. For a more complete listing of books published and distributed by Knife 

World Books click on their link and visit their web site. 


Japanese work: 

The Japanese Sword, Kanzan Sato Japanese Arts Library 

A wonderful book that outlines the history and construction of the swords. It features many of the 

treasure blades in clear photographs. 

The Arts of the Japanese Sword, B.W. Robinson Faber and Faber, London This book details the 

development of the sword and gives a brief history of the various schools that developed. It also features 

excellent photographs and useful appendices. 

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Bookstore 

The Craft of the Japanese Sword, Yoshindo Yoshihara Kodansha International, 

Tokyo and New York 

A detailed account of the craft and making of Japanese swords and fittings. This is an excellent book by 

one of the leading smiths in Japan. 

The Connoissuer's Book of Japanese Swords, by Kokan Nagayama 

This book is definitely for collectors, it has a history of the sword and its development and detailed 

drawings of the temper lines from the various schools and smiths. Lots of technical information about 

swords. 

Custom Knives: 

Knives 2002 If you are interested in making, collecting or looking up information about 

the custom knife world this is the best desk reference there is. It features articles on current trends, 

history of knives, lots of photos of the years best knives plus a complete index of makers, organizations, 

dealers, suppliers plus lots more. It is annual. Back issues are especially handy for tracking the 

development of the craft. Get it. 

Knives: Points of Interest by Jim Weyer, Weyer International 

Knives: Points of Interest Book II by Jim Weyer, Weyer International 

Knives: Points of Interest Book III by Jim Weyer, Weyer International 

Knives: Points of Interest Book IV by Jim Weyer, Weyer International 

These four books, Knives: Points of Interest, are a wonderful resource and record of custom 

knifemaking over the past twenty five years. Jim Weyer is a nationally known photographer and the 

photographs are of exceptional quality. I recommend these books for both the maker and collector of 

fine knives. For the maker, it is an idea book with thousands of examples of style, technique and 

inspirational craftsmanship. For the collector, they give a historical record of the development of the 

craft and document the work of the significant makers. These books are on sale now at bargain prices. 


Bookstore 

Knifemaking: 

Step By Step Knifemaking: You Can Do It! by David Boye 

This book has been out for years, but it contains some really useful and interesting ideas for making 

knives. I recommend it for the heat treating and scrap steel section alone. 

How to Make Knives by Richard Barney and Robert W. Loveless 

Good book with lots of useful information, covers handle construction, tools and tips. 

How to Make Folding Knives: A Step by Step How to, by Ron Lake, Frank Centofante, 

and Wayne Clay 

Master folder makers show how they make their knives in detail. Good book for reference. 

Custom Knifemaking: 10 Projects From a Master Craftsman, by Tim McCreight 

Tim McCreight's books are made for the shop with lots of tips and techniques. 

The Complete Bladesmith: Forging Your Way to Perfection by Jim Hrisoulas 

Pattern Welded Blade by Jim Hrisoulas 

Master Bladesmith: Advanced Studies in Steel by Jim Hrisoulas 

Dr. Jim Hrisoulas has written this series of books on bladesmithing and they contain lots of useful 

information. There is some repetition in the books, but I can recommend them as a good place to start. 

I setup this bookstore to help defray some of the costs of maintaining this site. I 


Bookstore 

appreciate your buying books through it. I know you will be happy with Amazon, I 

have found them to be fast, safe, reliable and inexpensive. If you know of books that 

should be recommended here or if you experience any problems please contact me. 

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Afterhours 


After Hours Reading 


The English major in me comes out when I read for pleasure and while I do enjoy light reading, 

these are books I can recommend because they are really well written. Amazon offers reviews 

on the pages you will be linked to, check them out and decide for yourself. Just click on the 

hyperlink to go to the Amazon site. 

Above and Beyond by Derek Stockton. The story of a German WWII fighter ace, it 

is an excellent read filled with vivid and well researched details that capture the excitement and horror of 

the dog fight and war. This is a book about healing as well. Written by former knifemaker, Murad Sayen, 

under the pen name of Derek Stockton, it is a remarkable first novel. You can read a few chapters online 

to get the favor of the book before you buy. 

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Afterhours 

Cold Mountain by Charles Frazier. This is a novel set in North Carolina during the civil 

war. It is beautifully written and covers life in the mountains during the war. Hard to put down and in the 

end disturbing and thought provoking. My first introduction to this book came during a long car ride 

from Wisconsin. Carla read the first chapter to us as we rolled along and I was hooked. 

All the Pretty Horses by Cormac McCarthy. A novel set in the hill country of Texas and 

northern Mexico. It is so well written it has to be read word by word, the images stark and memorable. 

Good read. 

The Crossing by Cormac McCarthy volume two in the Border Trilogy. McCarthy is a 

significant writer and if you are complaining about no good books out there, start here. 


Afterhours 

Cities of the Plains by Cormac McCarthy. I have to confess I didn't know this one was 

out, but am going to get it immediately and complete the set. 

The Stone Diaries by Carol Shields. This is a strange tale of a family with the warp and 

weave of real life. It is strange and fun and confusing and touching and hard to put down. It is hard to 

describe her style, but her writing is wonderful. 

Musashi by Eiji Yoshikawa. This is the best book on the Samurai warrior. Great tale, 

full of the mystery of Bushido, the way of the warrior, and is a classic in Japan. Great read. 

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Afterhours 



Metaphysical 


Metaphysical Reading 


Metaphysical readings will include books that I go to for inspiration and sources of wisdom. 

This list may include spiritual, philosophical, or inspirational readings, but all are books that 

have helped me gain understanding. 

Mastery Through Accomplishment by Hazrat Inayat Khan. This is a wonderful book, 

full of wisdom and practical ways of looking at life and being in the world. I read passages from Hazrat 

in the morning to clear my mind and set the tone for the day. 

The User Illusion by Tor Norrentranders. This is a fascinating look at how science has 

explored the mind and consciousness. It lays a down a fascinating framework for the exploration of 

consciousness and draws some interesting conclusions about how we perceive reality. If you enjoy 

philosophy, psychology and the study of consciousness, this will be an good read. 

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Metaphysical 

Wherever You Go There You Are by Jon Kabat-Zinn. The subtitle of this book is 

"mindfulness meditation in everyday life" and it is a basis primer for discovering meditative practice in 

daily life. Simple truths well put and a good place to start. 

Home, Chronical of a North Country Life by Beth Powning. I love this book. It 

combines beautiful images and simple wisdom. The prose is full of sensual imagery and draws truth from 

everyday, conscious living. Inspirational and wonderful. I have a link to Beth and her husband's site as 

well as a page on this book. You can get this book by contacting Beth directly via the hyperlink to her 

email. 

Anam Cara Anam Cara by John O'Donohue. Anam Cara, Gaelic 

for "soul friend," is an ancient journey down a nearly forgotten path of wisdom 

into what it means to be human. Drawing on this age-old perspective, John 

O'Donohue helps us to see ourselves as the Celts did: we're more than just flesh, 

blood, and bone; we comprise individual worlds. The comprehension of the 

sublime architecture of the worlds we are born with will engender a new 

appreciation for the outside world and the way we contribute to its evolution. 

Recommended by Jeanne Kelso. 


Metaphysical 

Art and Fear by David Bayles and Ted Orland. This is a wonderful book that deals with the mental 

and spiritual confrontations all artists experience. Honest, well written and helpful, especially when you 

are experiencing problems. Recommended by Peter Powning. 

Metaphysical 2 







Metalworking 


Metalworking: 


The Art of Blacksmithing by Alex W. Bealer 

One of the first books on metalworking I acquired. It has very practical information on working hot metal 

and a good resource book. 

The Complete Guide to Sharpening by Leonard Lee 

The Edge of the Anvil by Jack Andrews reference book for blacksmithing, tools, techniques, 

excellent source book. 

Steel Hardening, Tempering, and Forging Made Easy by Joseph V. Woodworth 

Metalwork and Enamelling by Herbert Maryon 

Mokume Gane in the Small Shop: The Complete Guide to Diffusion Welding Mokume by Steve 

Midgett 

A good place to start your mokume project. Has lots of useful information. 

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Metalworking 

Jewelry Concepts and Technology by Oppi Untracht 

The is an expensive book, but the most complete reference on metal working techniques out there. It is 

an idea book as well as a complete how to. Highly recommended. 

Fundamentals of Metalsmithing by Tim McCreight 

Good how to on techniques, useful resource and done with Tim's usual clarity and style. 

Practical Casting by Tim McCreight 

Handy guide to casting. Spiral bound so it lays out on the workbench while you are working. Good shop 

resource for beginning casting projects. 

Decorative and Sculptural Ironwork, by Dona Z. Meilach. This book featured the work of Bill 

Moran, Robbin Hudson and the "Damascus research team" of Daryl Meier, Jim Wallace, present curator 

of the National Ornamental Metals Museum in Memphis, Tennessee, and Robert Griffith. The chapter on 

Damascus steel provided a starting point for working with this steel and inspired me and many others to 

begin working with it. 

Samuel Yellin by Jack Andrews. Documents the work of Samuel Yellin 

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Metalworking 






Music to Forge By 



Most blacksmith shops are equipped with a decent sound system. Music helps to set the rhythm of the 

work and provides a pleasurable atmosphere. I am offering some of my favorite listening through 

Amazon.com. I have admittedly eclectic tastes in music, but these are the sounds that help me find 

inspiration and provide the drumbeat behind the work. Click on the hyperlink and you will be taken to 

Amazon. There are sound clips from some of the albums on their site. Enjoy. 

Celtic 

Book of Secrets by Loreena McKennitt 

This is a beautiful album with a Celtic flair. Loreena McKennitt has a wonderfully clear and lyrical 

voice. This music is ancient and haunting. 

The Mask and Mirror by Loreena McKennitt 

An earlier album that has the same wonderful ancient quality to it. 

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World Music 

Dance the Devil Away by Outback This is an album that can make you dance. It 

has some really interesting didgeridoo music and driving rhythms. 

Baka by Outback. I like this group, they can get you going. 

Spirit Chaser by Dead Can Dance. This is an unusual album in that it borrows 

from mystical musical traditions from various cultures and combines them with vocals that are 

constructed for their tonal qualities not their meaning. It is techno which I don't usually like, but has a 

tribal driving rhythm. It is an unusual album and has become one of my favorites. 



Mystical Garden by Omar Faruk. This is Sufi mystical music from the Turkey. 

There are some obligatory ambient cuts, but its core is mysterious and haunting. Drums and ude, 

chanting, a real and inspiring music. 

Tekbilek by Omar Faruk. More Sufi music from Turkey. 

Best of Kodo by the Kodo drummers of Japan. The Kodo drummers are high 

energy. They set a driving rhythm that is energizing and pure. They tour this country and are a must see 

if they come to your area. The first time I saw them, I was humbled by the intense energy that they 

generated. 

and high energy. 

Heartbeat Drummers of Japan by the Kodo drummers of Japan. Pure percussion 



Angel Archipelago by Johan Hedin "A neo-classical album of grace and quiet energy, befitting the 

glassine nature of Hedin's fiddle." Interesting sound, ancient and current, good music to work to. 

Montana Makers Recommend 

Recommended listening from the Montana knifemakers group, Barry Gallagher, Rick Dunkerley, Shane 

Taylor and Wade Colter. These albums have a Texas blues and rock sound. 

World Wide Open by Omar and the Howlers. Texas style stomping music 

Southern Style by Omar and the Howlers. This band has a lot of albums, if you 

like them there is more to choose from. 

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Revised: January 22, 2002. 






This site is about Handmade Knives and the Craft of Bladesmithing. 

The Gallery showcases Swords, daggers, hunting knives, art knives, Collectibles and Using Knives of 

all kinds. Check my Available page to see what is currently available for immediate purchase. 

http://www.dfoggknives.com/index.htm [11/2/2003 2:08:54 PM] 

Check Cup of Coffee for updates to the site; the Bookstore for recommended reading on this 

subject and more; to leave your calling card use Bladesmith Locator. 

The new Bladesmith's Forum is now open. This is a place to introduce yourself and post your 

questions so drop on by. 



Revised: March 13, 2003.

Links 

Metal Sites 

The WayBack Machine is an internet archive. If you find that some of the links are broken or not 

currently available the next step is to check the WayBack. It is an extremely useful tool and fun to work 

with. 

Links | Knifemakers | Technical | Artists 

ABANA Artist-Blacksmith's Association of North American 

Alabama Forge Council 

American Crafts Council 

American Bladesmith's Society 

American Society of Metals resource for books on metallurgy, heat treating etc. 

ARMA The association for Renaissance Martial Arts 

!tzalist Arts Directory 

Art Knife Good site with lots of info 

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Links 

Art Knife Collector's Association 

ArtMetal 

ArtTeach Christopher Ray's new site for art resources and information 

Bladeforums 

BladeGallery Collective site for some really good bladesmiths 

Blades International Bud Lang, former editor of Knives Illustrated, has created a new online knife 

magazine. It is full of great pictures and content rich articles. Check it out. 

Canadian Ironworkers 

Custom Knife a dealer site with customs 

Cutler's Cove Since 1991 Cutler's Cove has specialized in vintage pocket knives, folders, and fixed 

blades 

Damascus French site with good information on Damascus steel 

Ethnographic Edged Weapons Resource Site historical information, good resource site 

FABA Florida blacksmithing organization with how to articles related to knifemaking 

Ikkyudo Japanese sword work etc. 

International Knife Directory 

John C. Campbell Folk School Offers classes throughout the year on bladesmithing and related crafts. A 

wonderful place to learn. 

Knifemakers Guild Site 

KnifeArt.com - Fine Custom Knives 

KnifeDirectory.com - Web Knife Directory 

KnifeForum.com - Custom Knife Discussion 


Links 

Knives R Us 

W.Levine Knives a collection of high end custom knives 

North Carolina Knifemaker's Guild Check this site for listing of knifemaking classes offered 

Phoenix Metal Creations Swords, daggers, and much more. 

The Japanese Sword Site 

Japanese Sword Information 

Japanese Sword Catalog Good photographs and descriptions of swords for sale in Japan 

J.C. Campbell Folk School Offering a wide range of blacksmithing, bladesmithing and craft course 

taught in a wonderful mountain retreat environment. Home of my sword forging class. 

Ryoma Life of a Renaissance Samurai and Samurai Sketches by Romulus Hillsborough The story of a 

Japanese legend 

Sculpture 

Toledo Swords A growing site with informative articles and a long tradition in edge weaponry. 

Tsuba 

Resources: 

A.G. Russell, dealer 

Ancient World Web Wonderful resource site for information about the ancient world 

Anvil Fire Blacksmithing web site full of good stuff and useful links 

Bob Engnath, Resource for Blades and Stuff, Bob has an information rich site and worth a visit for sure 

Habaki making and much more. 

Blacksmith's Junkyard Great forum for information on blacksmithing and metalwork. 


Links 

Bugei Trading Co. Japanese books, supplies, swords etc. 

Brownell's gun and knife supplies email for call 515-623-5401 for a catalog 

Canadian Blacksmith's Organization 

Casting Supplies 

Cool Crafts Directory Extensive collection of links 

Carlton's Rare Woods 1-404-876-1144 no link here, Carlton doesn't believe in computers, but he does 

carry a wide assortment of rare and exotic woods. He also carries alder for making shirasaya. Good place 

to do business. 

Congress Polish Supplies Stones and more 

Desert Ironwood Miguel's web page with photos of the wood available 

Eblade Store Knives, Accessories and Gift Items 

Edwards Heat Treating established heat treater in the Bay area that offers cyrogenic treatment 

English Re-enactment Supplies 

Euro Anvils European style anvils made in the USA 

Gail Ford's Custom Knifemakers Site good source site for links and articles 

Gilmer Woods Fine woods 

Japanese Ho wood for saya 

Jantz Supply Knifemaking supplies. 

Jeff Carlisle Knife steels and supplies, hydraulic presses and dies 

Fred Lohman Co. Japanese sword supplies 

Ganoksin Online (http://www.ganoksin.com/) - The gem and jewelry world’s foremost information resource on the 


Links 

Internet. Open to the public, Free of charge - a substantial library of articles, publications, reports, and technical data on 

gem and jewelry related topics; as well as a sizable collection of art and jewelry galleries, for both the casual visitor and 

the professional. 

Historical Armed Combat Association Interesting site with good links 

International Knife Directory Comprehensive directory of knifemakers and suppliers online 

Tony Hnilica's Index of Knife steels and materials 

Knife Steels 

Kydex sheaths 

Lindsay Publications Good source for hard to find technical books 

Mammoth Fossils Source for fossil mammoth ivory from Russia 

Manhattan Supply Direct Supplier for metalworking and much more 

Metal Cyber Space an extensive listing of metal and jewelry related sites by Susan Sarantos 

Metallurgy FAQ V 1.0 by Drake H. Damerau 

Metal Web News Many links to metal related sites 

Moorcat's Link Library 

Mother of Pearl good source for pearl 

Mugen Dachi Co. selling tatami omote for tameshigiri 

National Ornamental Metals Museum The site for a wonderful museum in Memphis run by Jim Wallace 

Neo Tribal Metalsmiths 

Old World Anvils Anvils, tools and supplies 

Online Metals source for nonferrous and ferrous metals 


Links 

Pop's Knife Supplies 

Viking sword site, useful info and photos 

Neoptics for reusable plastic magnifier lenses 

Raven Armory Make good quality medieval weapons 

Ron Reil Forge and burner designs. 

Sarco Knives folding knives dealer 

Sharpening 

Smith Abrasives Supplier of natural Arkansas stones and all types of sharpening systems. 

South Eastern Heaters Supplier for digital controllers, pyrometers, thermocouples, etc. Contact Don 

Ware 

Standard Ceramic Supply Co. Supplier for florspar and many other raw materials 1-412-276-6333 

Stephan Bader Co. maker of the famous Bader grinders 

Surplus Center (no link) good for all sorts of useful stuff, blowers, motors, hydraulics 1-800-488-3407 

Swordforum forum dedicated to swords, lively discussions, soon to be an online magazine 

Tannehill State Park homepage for the home base of Batson's Bladesmithing Symposium 

Tatara furnace 

Therion Arms Medieval resource selling antique and reproduction arms and armor from around the 

world 

Titanium Joe titanium scrap dealer 

Uncle Al the Knifemaker's Pal Knifemaking tools and supplies 


Links 

Winkoff's Junkyard Blacksmithing resource page, info, chat, links good site. 

Wicked Knife Company 

Wood Property Enhancement Co. Specializing in custom wood impregnation, for bone, wood and antler 

adding strength, indent resistance and dimensional stability to the material. 

Woodcraft Supply Tools, supplies and books 


This page will grow as I receive approval for the links, if you would like to have 

your page listed please email me 






Knifemakers 

Andre Andersson 

Afri-Thipa Pretoria, South Africa 

Boyd Ashworth 

Knifemakers 


Australian Knives Keith Spencer knife writer has created a site for the maker's downunder 

Joe Babb 

Mary Bailey Scrimshander 

Paul Baker English maker doing Japanese style work 

Mark Banfield knives from New Foundland 

Van Barnett Elegant knives from a leading maker 

Rick Barrett Japanese style blades and furniture 

Dale Baxter up and coming Alabama bladesmith 

Michael Bell Japanese trained swordsmith, makes tradition katana, beautiful work. 

Craig Blankenship 

Chad Benson White Crane Forge 

Travis Blevins Forge 

Jose de Braga very talented and creative Canadian maker. Exciting work check it out. 

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Knifemakers 

Peter Burt New England knifemaker, new and interesting forged work 

Carolina Knives Tommy McNabb and Travis Daniel combine to make a wide range of using and 

collectible knives 

Kevin Cashen a very talented young sword smith offering classic work 

Ron Claiborne 

Howard Clark Katanas, folders, and custom heat treating 

Raymond Coon Damascus daggers and using knives 

Steve Corkum a popular tactical knife maker with martial arts background 

Pierre Couture 

Don Cowles Nice knives 

George Dailey beautiful Damascus folders 

Ivan de Campos Brazilian knife site 

Dellana Jewels of knives, by the leading woman knifemakers 

John DeMesa sword polishing 

Heinz Denig One of Germany's leading Damascus makers 

Deb Donnelly Scrimshaw 

Ken Durham Well done American and Scottish designs 

Kaj Embretsen An old friend who does beautiful Damascus work, in folders and fixed blades 

Georges Emeriau French Damascus site with passion for the steel 

John Etzler Beautiful work, careful craftsmanship 


Knifemakers 

Bruce Evans Rapidly improving knifemaker. He shares his techniques in some well written articles on 

knifemaking 

Mike Faul Japanese swordsmith, nice site. 

Peter Farquhar Swords 

Bill Fiorini Mosaic Damascus and tools. Bill is one of the early Damascus makers and a long time 

teacher. 

Dan Fronefield Meteorite folder. 

Richard Furrer wootz and stuff 

Barry Gallagher Fine folders and mosaic steel from one of the top makers today 

Barry Gardner Australian bladesmith making some good looking knives 

Daniel Gentile Ronin swords 

Patrick Giacobbe Sword polisher. He also has created a Forum for Japanese swords 

Chantal Gilbert jeweller and knifemaker who does beautiful work 

Wayne Goddard Knifemaker, teacher, author and all around knowledgeable man, a good resource site. 

David Goldberg Japanese swords, tanto and fittings 

Daniel Golden Stainless Bowies and hunters 

Tai Goo Tai is one of the true artists in this craft. His work is constantly evolving and changing. Creator 

of the NeoTribal metalsmiting movement, he has stimulated a revival of interest in hand made knives. 

Randal Graham swordsmith, very knowledgeable and dedicated, working in European and Japanese style 

blades 

Lynn Griffith Tactical knives. Lynn is seeking to amass a complete collection of links about knives and 

knifemakers 


Knifemakers 

Gib Guignard Cactus Forge 

Ed Halligan bladesmith, carver, inventor of the famous KISS knives 

Butch Hanby Buffalo Waller Knife Works 

Larry Harley The Lonesome Pine, Darth Possum, the largest arms in the business. Hog hunts, 

tomahawks, good stories. 

Patrick J. Hastings makes fittings for Japanese swords and tanto. Nice work 

Rade Hawkins long time knifemaker and supplier. Rade is a great resource for information and materials 

as well as good knives. 

Wally Hayes President of the Canadian Knifemakers Guild and fine maker check it out. 

Tony Hnilica custom knives and services 

Dan Hockensmith Nice work 

Dennis Holmbacka 

John Lewis Jensen 

Mike Koller 

R.J. Knives 

Ray Kirk, Raker Knives 

Bob Kramer 

Matt Lamey 

Len Landrum 

Mark Laramie folders 


Knifemakers 

Keith Larman Japanese sword polishing 

William Latham Sword polisher 

Steve Lindsay Engraving An amazing engraver, must see site 

Tim Lively Knives forged to shape. Part of the Neo Tribal Bladesmithing movement. 

Wolf Loechner Elegant daggers, beautifully designed and executed 

Jonathan A. Loose 

Magnus Design 

Jay Maines 

Al Massey 

Chris Marks 

Gene Martin 

Peter Martin 

Tony Martin Arcadian Forge 

Tom McGuane 

Daryl Meier Steel source from the master Damascus maker. Grandpa to us all. 

John de Mesa Swords and sword polishing site, contemporary blades, nice work. 

Michael Miller Knives and exotic burled wood 

Richard Mize Fox Creek Forge 

Steve Mullin/Pack River Knife Co. 


Knifemakers 

Patrik Nilsson Artic Circle knives 

Daniel O'Connor Good work and interesting articles 

Gene Osborn Good shop tour 

Rik Palm 

Mel Pardue Mel is an old friend and one of the pillars in the custom knife community. He is creative, 

productive and has helped more people in the business than anyone I know. 

Mark Pesetsky 

Jacob Powning Celtic and Norse design knives and swords, nice work 

Francois Pitaud French bladesmith and ironworker 

Terry Primos Working knives and bladesmithing articles, good site. 

Darrel Ralph Check out Darrel's fantasy folders and art knives, very creative and tight work. 

Pierre Reverdy Talented French Damascus maker and artist 

Kirk Rexroat Beautiful work 

Bertie Rietveld One of South Africa's leading knifemakers 

Steve Schwarzer Mosaic Meister and knifemaker extraordinaire. 

Harald Selevold Norwegian knives, nice work. 

Scott Slobodian Beautiful, contemporary Japanese style sword work. Tres elegant. 

John W. Smith Nice folders 

Randy Stevens Knives 

Johnny Stout 


Knifemakers 

Jim Schmidt one of the true masters working today, a longtime friend and teacher. 

Shane Taylor Mosaic Damascus folders and fixed blades, one of the Montana gang, nice work. 

Palle Thorndal Danish maker with beautiful, traditional knives, check it out. 

John Tirado First class saya maker 

Carl van Tonder South African knifemaker, also sells handle materials 

Terry Torrence TJT Knives 

Hurl Vreeland 

Rainy Vallotton 

Butch Vallotton 

Viking Metal Works Glenn Parrell 

Walhall Forge formerly Ronin Knives 

Joe Walters Moonlit Forge, specializing in Japanese style blades 

Buster Warenski And then there is Buster, so far ahead of the pack, you can't see his tail lights. 

Bob Warner Knives and knifemaking tips 

Robert Washburn ABS Journeyman smith, Custom Bladesmith 

Danny Winkler Beautiful period style work, excellent sheathes by Karen Shook. Nice site. 

Mike Zima Stainless hunters and folders, some Damascus. 

Tim Zowada Forges, steel, great knives 



Knifemakers 




Revised: September 05, 2003. 


Technical Links 



Please send me any links that might be of interest to others 

Some of these links have been discontinued, but the information is still out there. If you can't find it 

check in with the Way Back Machine an internet archive of old sites. 

Acids, Bases, and Salts-Ionice Equilibria 

Ancient Metals Source site for information on ancient metals 

Anticlastic Raising by Michael Good 

Anvil Magazine 

Archeology of Metals Links to ancient metals sites and research 

Archeometallurgy Ancient metals resource site 

Arms and Amor 

Art Resources comprehensive resource page 

Asian Art Works Ikkyudo 

Austenite/Martensite Transformation Movie 

Autodidactic How to books 

Backyard Metalcasting aka The Lab. The Oliver-Upwind Burner 

Russell Barr's Knife Points Tips and links for knifemaking 

http://www.dfoggknives.com/TechLinks.htm (1 of 7) [11/2/2003 2:08:57 PM]


Batteries Good information on rechargeable batteries and the technology involved 

Burner designs Rex Price's Hybrid Burners 

Steve Bloom Pages on Japanese work 

Casting Information 

Charcoal Retort Daniel O'Connor has a good article on making a charcoal retort for making charcoal 

Contact Wheels Rob Frink 

Converters Building 3 phase converters 

Crucible Damascus Steel by Anna Feuerbach covers information that she developed during doctoral 

thesis on the subject. 

Cryogenic Links 

CUIR BOUILLI Boiled leather armour 

Damascus Steel Georges Emeriau created a this site for Damascus steel and it is rich with information 

Die Making Company 

Digital Photography Dennis Curtain has published several books on the subject and offers a short course 

online. Excellent and practical 

The Divine Proportion Interesting site on the golden mean 

Dog Head Hammer information on hand hammer shape that works great for blade forging 

Early Steel Early historical site, tilt hammers etc. 

Engraving Martin Strechovsky engraving 

Electricity in the Workshop 



Electrolysis To remove iron oxides 

Electroetching 

Etching Article on etching brass 

Ferric Cloride information 1, Ferric Info 2 

Forge Journal Heath Muirhead's forge building adventure. Good pictures and information. 

Foundry Techniques by David Reid An interesting experiment in microwave casting 

Frugal Machinist How to site with interesting projects 

Gaijin's Guide A series of videos that show how to polish Japanese style work with available materials, 

excellent. 

Grinder Tips from Bob Engnath 

Habaki Fine examples of habaki 

Hamon 

Heat Treatment Three Planes, A woodworkers guide to heat treatment. Excellent 

Hermes 

Historical Armed Combat Society 

Historical Metallurgical Society 

History of Copper An interesting site detailing the history of copper and early mining 

History of Martensite interesting article 

How to Books Gene Chapman's site for how to books on knifemaking 

How to Make Springs 



Image Optimization 

Industrial Heating 

Iron Smelting Site Good project site check it out 

Japanese Box Bellows Daniel O'Connor has an article on building a box bellows 

Japanese Glossary and Book site 

Japanese sword site 

Japanese Sword Polishing 

Japanese Sword Polishing deux 

Japanese Swordsmiths 

Japanese Swords and Tsuba The Boone Collection 

The Transition and Shape of the Japanese Sword and History 

Japanese Treasures 

Knifemaking Links 

Magnets 

Masks 

Martensite Transformation information 

Medieval Studies Sites 

Metal Crafts Australia 

Metal Suppliers Directory This is an extensive directory of suppliers for all sorts of stuff, very handy 



Metal Web News Good source for how to articles and information 

Meteorite Etching Site by Marion Bagwell 

Microwave Casting by David Reid 

The Model Engineer Wonderful site about miniature steam engines, machining, lots of good tips 

Moro Swords 

Njall's Forge Construction Project 

Optical Pyrometer How to build a 

Polishing Supplies Japanese site with stones etc. 

Pricescan Site that shops lowest price on computers etc. 

Puzzle Craft John Stokes amazing wooden puzzles, very interesting 

Quenching Thermal graphs showing effects of clay on quenched blades 

Rhodochrosite Dennis Streetman's source site for rhodochrosite and stone objects. 

Seven Star Trading Chinese 

Snow Crystals A fascinating look at crystal formation 

Steel Equivalents 

Steel Chart Useful chart comparing various common steel provided by Terry Primos 

Steel Standards by British Blades 

Steve's Knifesharpening Site Useful information on sharpening 

Sword Bibliography wonderful compilation of resources on swords 



Steel Making by Mike Petersen 

Sword Metallurgy Interesting site with graphs of quenching effects 

Sword site, Thomas Buck good articles on Japanese swords 

Sword supplies Namikawa Ltd. 

Tatara Furnaces Site has videos of furnace making project 

Therion's Arms and Armor Resources of the Web 

T-Rex Burners Venturi burners for the forge 

Tsuba article by Daithi 

Tsuba: Art of the Japanese Sword 

Tsuka maki Good information on wrapping handles 

Tsukamaki Styles Dozens of photos showing different wrapping styles, photos could be better, but still 

useful 

Turkshead knot Animation of how to tie a turkshead. 

Viking Site 

Viking Sword 

Water Jet 

Weapons of the Igorot 

Wooden Swords neat practice swords and toys 

Wooden Swords another site on wooden swords 

Wootz Interesting article on wootz by Al Pendray and Dr. Verhoven 



Wootz research Richard Furrer's experiments and technical research detailed 

Wrought Iron information Chris Topp & Co. 







Artists 

Artists 


Abrasha Metalwork and jewelry, geometric forms and impeccable work. 

Comprehensive links to artists and art sites on the web 

Misha Gordin, Conceptual Photography 

Griffe Metal. Metal work with spirit, my dear friend Griffe Griffiths has a unique style 

creating objects that are alive with energy. 

http://www.dfoggknives.com/artists.htm (1 of 4) [11/2/2003 2:08:59 PM]

Artists 

Wonderful. 

Janel Jacobson Beautiful carvings, netsuke and ojimi. Exceptional work. 

Shiho Kanzaki Wood fired pottery, a rich site featuring his work and philosophy. 

Jim Kelso Carving, engraving, wonderful alloyed, precious metal 

objects, knives, handles, jewelry. One of the finest craftsmen working today. Jim's new web site Jim 

Kelso 

Steve Midgett Mokume gane artist, author and expert in the field. 


Artists 

Peter Powning Ceramics, glass, metal. His wife, Beth Powning, is photographer and author, click 

hyperlink for sample from her book. They have nice site with excellent photos and work at their web site. 

Merry-Lee Rae enamellist. Masterful work with such subtlety of color and 

line. She has also shares her knowledge with a step by step guide to the making of a piece. 

Phillip Sugden "An exhibition of drawings from the Himalayas that visually and metaphysically explores 

its profoundly spiritual geography, both natural and human." I have constructed a page with some of his 

works click on Tibet 

Andrew Werby - United Artworks 

Sculpture, Jewelry, and Other Art Stuff 

http://www.dfoggknives.com/artists.htm (3 of 4) [11/2/2003 2:08:59 PM] 

Links | Knifemakers | Technical | Artists

Artists 






Jim Kelso 

Jim Kelso 

Amidst the chaos and rush of modern culture, life is full of beauty and mystery if only we can find a time, place and 

method to still our minds. For me, those times are often found while wandering or sitting in some secluded forest spot. 

Near my home in northern Vermont I have located several spots that are personally rejuvenating. These places are 

physically beautiful with cascading water, trees and rock formations. In those places I also find some element that is 

impossible to describe. To me it is a felt presence that is as palpable as any physical object. It is in such places that my 

mind can relax and be attuned to Nature in minutia, and in turn to the Creative Power beyond changing outer forms. 

Jim Kelso, artist's statement 1996 

http://www.dfoggknives.com/jim_kelso.htm [11/2/2003 2:09:01 PM] 

Jim Kelso 

1-802-229-4254 



Revised: September 01, 2002.

Mallow Pin 

Mallow Pin by Jim Kelso 11/4" in diameter ebony, shibuichi, shakudo, 18k gold and sterling silver 

http://www.dfoggknives.com/Mallow.htm [11/2/2003 2:09:02 PM] 

Jim Kelso 

1-802-229-4254

Birch Leaf 

Birch Leaf Box by Jim Kelso Gold, silver, shakudo, shibuichi, ebony 

http://www.dfoggknives.com/Birchbox.htm [11/2/2003 2:09:03 PM] 

Jim Kelso 

1-802-229-4254

Lady's Slipper 

Lady's Slipper Orchid by Jim Kelso Brooch/pendant sterling silver, 18k gold 1.75"x1.5" 

Jim Kelso 

http://www.dfoggknives.com/LadySlip.htm (1 of 2) [11/2/2003 2:09:04 PM]


1-802-229-4254 

http://www.dfoggknives.com/LadySlip.htm (2 of 2) [11/2/2003 2:09:04 PM]

Lady Bug 

Chrysanthemum Lady Bug Pin by Jim Kelso Gold, shakudo, shibuichi 

http://www.dfoggknives.com/Ladybug.htm [11/2/2003 2:09:05 PM] 

Jim Kelso 

1-802-229-4254

KelsoMothIll2 

Evening Moth Box by Jim Kelso 

http://www.dfoggknives.com/KelsoMothIll2.html (1 of 2) [11/2/2003 2:09:07 PM]

KelsoMothIll2 

The moth is copper and the spots are shibuichi, shakudo and gold. Head and body are 22k gold. Moon 

inlay from back in Mother-of-Pearl. Traditional Japanese rokusho patination. 

Jim Kelso Images 

http://www.dfoggknives.com/KelsoMothIll2.html (2 of 2) [11/2/2003 2:09:07 PM]

http://www.dfoggknives.com/site_map.htm 

The following is a hierarchical listing of all the pages in this web that can be reached by following links 

from the top-level file "index.htm". Page titles are displayed if they exist, otherwise the entries are file 

names. Unreachable files are shown at the bottom of the list. 


● The Way 

Creative Process 

Fire 

Tibet 

Vibrations 

Time Out Bell 

Self 

New Page 1 

Life 

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Why 

Truth 

Working Consciously 

● Collectibles 

Kemal 

Whale 

Dolphin 

Dragon 

Sufidagger 

Ewok 

http://www.dfoggknives.com/site_map.htm (1 of 10) [11/2/2003 2:09:08 PM]


Falcon 

Pan'sdagger 

Kelso-Fogg 

Chrysanthemum 

Life and Death 

Jim Kelso 

Mallow Pin 

Birch Leaf 


Lady Bug 

D.Fogg 

Blue Bowie Spirit pattern Damascus blade 9 

NewViking 

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Midline Crisis 

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Bibliography 

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Jim Weyer 

Collector's View 

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Hy Alloy Steels 

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KemalDragon03 

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KemalDragon03Guard 



● site_map.htm 

● Links 

Knifemakers 


Hermes 

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MacWak 

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Shortswords 

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Short sword 22 

Celtic sword 

Bird Dagger 

Katana Information 

Japanese library 

Swords 

● Daggers 

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Leaf Dagger 

Huntingdagger 

CarvedTanto 



● Using 

Bubinga Tanto 

Tanto folded and welded steel 

Osoraku 

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Shivs 

Shiv dagger hand forged from 1095 

Shank 

New Page 1 

Bamboo Shiv 

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photogallery/Shivs/index.htm 

Damascus Hunters 

● Bladesmith Locator 

● craftof.htm 

seminars.htm 

ABANA 1998 

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Twelfth Annual Batson 

sword.htm 

handwork.htm 

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tips.htm 

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Getting Started 

techniques.htm 

fullers.htm 

Cleaning up the fuller 

photogallery/Fitting/index.htm 

Temperature Equivalents - Micro Images 

Finishing 

making_daggers.htm 

Forging Dagger 

Handle Fitting 

Grinding Daggers 

Quillions 

Sharpening 

damascus.htm 

damascus_steels2.htm 

Forge Welding 

etching.htm 

contrasting_steels.htm 

grinding.htm 

hardening.htm 

Iron/carbon 

heat.htm 



heat_treating2.htm 

Water Hardening 

tools.htm 

Hi temp salt 

Shop Tour 

Slide Show created With IMatch 3 






Charcoal Forge 

forge 

Venturi Burner 

Furnace 

Hydraulic Press 

H Frame Press 

Press Gallery 

PressGallery2 

Dies 

Dies 2 

● RarePieces 

Kemal Viking Dagger 

KemalVikingScabbard 

BidRarePieces 

Kemal Rare Pieces 

Kemal Viking Handle 

KemalVikingLarge 

KVBladeSteel 

Kemal Falcon Bowie 

KemalFalconblowup 

Kemal Falcon handle 

KelsoRarePieces 

Unsheathedlarge 

KelsoMillsTantoLarge 

LeafBlowup 

KelsoMillsHandle 

Kelsocloseup 



RarePiecesAuction 

● Feedback 

● Cup of Coffee 

GidgeeShiv 

Parser 

Parser 

Tips crossover 

Tips profile 

DSCN4983 

Parser emsemble 

Breast plate 

Making Stag Shiv 

ForgingShiv5338 









Makingshiv5394 



ShopShiv5407 

ShopShiv5409 

ShopShiv5410 

ShopShiv5411 

ShopShiv5412 

StagShivB1643 

8 

Shoals Bowie 

Samuri Skinner 

Dha-Chi 

Blade Show Highlights 2002 






RikBowie 

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LongForge48040 

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BlowerAssembly 

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Press Gallery 3 

Steel Making with Ric Furrer 

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LouisMills 

MakingSteel 

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Bladesmith's Forum 

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Getting Started 

Formatting your posts 

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RamsHead 

VikingConstruction 

Folders 

VikingMinature 

Tsuba 

Feather 



Seven Year Sickle 

Sickle 

Sober Sticks 

Scott Langton 

Gothic 

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tsubablanks 

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New Page 1 

Gentleman 

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New Page 1 

Winter 

Spring 

Seach.htm 

Clip point hunter 

Updates 

Textured Habaki 

13th Annual Baston 

Metaphysical Readings Too 

New Page 1 

Above and Beyond 

Bamboo Shank 

Bloodwood tanto has been forged from 1086 

Digital Photo Gallery 

Little Lizard in the Roses 

Mimosa Leaves 

Mimosa blossom 

Lizard Head 

Strange Web 

computers 

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● Bookstore 

Afterhours 



History 

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Metalworking 


● Stag Handle Bowie 

Stag Handle Bowie 

● Texan 

● Bloodwood Gent 

● Mimosa Gent 

● sid:1158 




Revised: October 14, 2003. 


The Way 

The Way of Bladesmithing 

Let's begin with the premise that what we make with our hands is the by product of a process and the 

process is the path we follow. 

By process, I am not only referring to physical act of putting tools to materials, but also the mental and 

spiritual disciplines that are called upon. The tools work on both ends at the same time. They not only 

shape and form the materials, but by providing the direct connection for the maker they force the 

craftsman to learn about himself in the process. 

There are various stages that all must go through. The beginning of learning a craft is a frustration of 

working with many unknown variables. The tools are unfamiliar, the body does not yet know how to 

hold and manipulate them, the mind does not know what to do with them or their potential. Gradually 

however, skills are acquired and the tools become a familiar interface with the materials. 

When working, the mind must be totally involved in the process. If thoughts are anywhere but on the 

work, it shows immediately. Most tools are dangerous if you are not focused, they demand attention. 

Consciousness is forced to remain in the present. Every action requires thoughtful consciousness and 

every action shows directly in the work. 

It is the effort to discipline the mind to attention that is most challenging. Because the work provides 

such direct feedback, it serves as frozen record of your consciousness. The work is also a receding 

horizon, the more you learn, the more you realize how much there is to learn. It is an inner journey 

expressed through the object that is created. While it is the process that involves the craftsman, the 

object, once complete, begins a journey on its own. We prize objects that reflect inner spirit and energy 

because of the affect they have upon us. They will move from hand to hand, imparting to each the energy 

it contains. This too is part of the process. 

http://www.dfoggknives.com/wayof.htm (1 of 5) [11/2/2003 2:09:10 PM]

The Way 

There are times, though rare, when you can become the tool. The conscious mind is involved with the 

work to the point where it loses the need for itself. Identity becomes totally involved with the process, 

there are no thoughts, but a simultaneous expression of work. Often inspiration comes when we have 

fully let go and we are open to receive. 

I had guests the other night and the word discipline came up. We laughed because initially it was 

misunderstood. Discipline has a negative connotation when it is imposed on you from outside, but inner 

discipline is strength. Inner discipline provides solid ground on which to build. 

Because the work is solitary, there is time for contemplation as well. In my early attempts to gain self 

discipline, I had to develop an objectivity about my thoughts. I found a vantage point from which I could 

observe myself and as I watched my thoughts rise up into consciousness, I began to realize that many 

were silly, inspired by memories or fantasies, but having no relevance to the present moment and the 

objective I was seeking to accomplish. The mind fires continually, first this direction then that. It can 

develop whole stories that spin on endlessly, some like nightmares recur and follow a dreary cycle that 

have an inevitable conclusion of depression, sadness, anger or defeat. To learn discipline, you have to 

disperse these thoughts, they are dreams and take you from your work. Allow the work to draw you back. 

Employ the mind or it will employ you. 

Breath 

A useful tool for centering the mind is the breath. I have heard the breath described as a silver thread that 

links you to the universe. If you purse your lips slightly and draw a slow deep breath, it is not hard to 

imagine the coolness of space and the silver light of the stars being drawn into your body. When you 

exhale, you imagine the energy passing through you and discharging into the ground beneath you. It has 

a calming and centering affect. This is ancient wisdom. 

As you begin to control your mind, you realize that it is insatiable. It hungers for stimulation and will 

quickly divert to anything that distracts it. The modern world is a cacophony of sounds and images. We 

process so much information in the course of one day, an old timer would be dizzy from the effect of it, 

but we hunger for even more. The radio plays constantly, the TV is always on, we can not sit without 

reading, a telephone is glued to our ear, solitude is intolerable. This is a drug and it is used by others to 

control us. At the very least, it distracts the mind. 

Sweeping the shop 

The day begins with sweeping the floor. A clean and organized shop promotes clear thinking. I have 

heard makers defend their cluttered benches by saying that they know right where everything is, but 

when you watch them work, they spend much of their time hunting for tools. Sweeping the floor is also 

about getting a fresh start to the day. The problems and difficulties of the previous day are put into 

perspective when the bench is cleared and the tools are back in place. Use this time to mentally lay out 

the work ahead. Sweep the mind free of clutter and focus on the day. 


The Way 

Sweeping the shop also covers maintenance of the tools and reorganizing. While this is not a daily 

routine, I try to set aside a period of time each week when I oil and grease, tighten and replace things that 

I notice need attention during the week. Wayne Valachovic, a good friend and knifemaker, talked about 

attuning yourself to the machines. When you are working, you are also listening to the sounds the tool is 

making. When there is a change or something is different, it is time to stop and uncover what the 

problem is and fix it. My tools are getting old too and every now and then they have to be rebuilt or 

repaired. At first, I felt this was a nuisance, but because I took the time to work on them, I understand 

them better now and have learned how they do their work and in that way, it has helped me do mine 

better too. A good tool, with care, should last a lifetime. It is also important to observe how different 

tasks are done, always looking for a more efficient way. Perhaps changing the placement of a tool will 

save a few steps and therefore time. This shows respect for your time and is an important part of the 

process. 

Perhaps the highest maintenance tool in my shop is my body. It requires good food, regular exercise, and 

ample rest and will not work properly without it. I have been blessed with a wife who devotes herself as 

consciously to cooking as I do to bladesmithing. She has nourished me despite myself, put up with my 

emotional attachments to food and in the end, I have to admit that a good diet has changed me in very 

positive ways. GIGO, garbage in, garbage out, is the computer expression and it applies to nutrition as 

well. In the old days, the Japanese smith would purify himself before working on a sword. By eating 

simply, usually rice and tea, ritual bathing, abstinence and prayer, the smith would prepare himself. This 

regime gives a certain clarity to the mind and being that is as relevant today as it was seven hundred 

years ago. 

Chopping Charcoal 

The apprentice in a Japanese sword smithy spends the first year chopping charcoal. This work is basic 

preparation of materials and I am sure promotes self discipline. There were mornings in New Hampshire 

when it might have been possible to chop the propane, but what is necessary is to prepare the materials 

for the day's work. This will involve lighting the fire, cutting the steel, tacking the billets together and 

welding on handles. This is grunt work, it must be done and it is valuable time if you use it to train your 

mind. We have an interesting insight into our mind when we are faced with boring or repetitive work The 

first voice you hear is your weakest self. If you really want to know what you have to work on in 

yourself, listen objectively to the internal dialog. "Many experience, and a few know, that things go 

wrong when one's self is not disciplined." Hazrat Inayat Khan 

This is probably a good time to tell a story. I have a friend who use to be a luthier. A lute is an early 

stringed instrument and quite difficult to build. He was a careful craftsman and I use to enjoy visiting his 

shop. I noticed on one of my visits that he had a contraption screwed to the wall. It was an arm and hand 

fashioned out of wood with a cord hanging down. When I asked what it was, he demonstrated by walking 

beneath it and pulling on the cord. The hand came down and gave him a pat on the back. All of the work 

you do is without benefit if you can't enjoy the process or take satisfaction from your accomplishments. 

The clearest guide you can have in life is joy. 


The Way 

Attunement 

Though this process of self discipline we are attempting to gain mastery over ourselves, but the next step 

is even more difficult. Once we are able to quiet our minds and focus our attention, it is then necessary to 

let go. While the preparatory steps of self discipline relied on developing will, the will has to be released 

and like a step into the void, we become empty. By letting go, we now are able to receive. This state is 

the source of inspiration and through it we are able to attune ourselves to the material and process. I 

believe this is how the ancient smiths were able to develop such refined work. It is within our reach as 

well. 

"Polish the two fold spirit, heart and mind. sharpen the two fold gaze, perception and sight. When your 

spirit is not in the least clouded, clouds of bewilderment clear away. There is the true void." Musashi. 

The craft of bladesmithing is non verbal. Working with the materials and the tools, it is quite easy to let 

go of the verbal dialogue. It is not necessary to translate every action into words or even structured 

thought. Thinking does not have to be linear. An interesting thing happens when you let go of language, 

first you are no longer bound by the subject-verb-object relationship. While this is a wonderful and 

necessary construct if you wish to communicate ideas, it often falls far short of accurately describing 

experiences that go beyond that relationship. Later you find that while you are working, you are 

capturing perfectly every moment of your consciousness. The blade is a frozen record of your 

experience, it needs no explanation because it exists and can speak for itself. 

Ideals 

It is said that a man is only as broad as his broadest ideal, only as deep as his deepest ideal, only pure as 

his purest ideal. While the craft may be the path, the ideals that you hold are the guide. When I first 

began making knives, my ideal was to produce a sword that unsheathed, its light and brilliance would 

reveal the truth. Each must choose his own ideal however and once it is defined, it must be cherished and 

honored. 

With each decision that we make, we are constantly reminded of our ideal. Our choice is to move closer 

to our ideal, we will progress when we do. It is interesting that as we progress, our ideals change as well. 

It is a receding horizon. What we learn is how to see more clearly, we become more sensitive to the inner 

journey. 

The true ideal however is always hidden behind the man made ideal. " The ideal is a means, but its 

breaking is the goal." the Gayan. 

Perfection 

I never thought of myself as a perfectionist because nothing I ever made was perfect. I realize now that it 


The Way 

is in the striving for perfection that the journey lies. Each object you make can teach you something new. 

In it's materialization, you are bringing your ideal to fruition, but it is also in that interface between the 

spiritual reality and the material that the discovery lies. It is a journey, so if you take the next step you 

will progress. It is helpful to study your work and look for ways that you can improve. Take modest 

steps, refine what presents itself. Take satisfaction in your accomplishments, but accept with humility 

what you do not yet understand. 

Page Two...The Creative Process 

The Way | Creative Process | Fire | Vibrations | Self | Life | Perfection |Why | Truth | Working Consciously 

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The Creative Process 

The creative process is the mysterious aspect of the craft. Elusive if pursued as an object, creativity 

accepted as a process, it is the natural state of being open and receptive. It is the face of consciousness. 

There is a natural cycle that holds for the creative process. First there is a period of receptivity, an open 

acceptance of change and wonder. If we do not block receptivity with rigid concepts or self limiting 

negativity, the well is bottomless. Then there is a period of transmutation where creative impulse is 

blended with experience and ideas begin to form. The creative act is the manifestation of the process, but 

it is not the culmination, that comes in the quiet after completion. When the vessel is empty, then it can 

be refilled. 

Work Cycles 

Everyone has times during the day when they are more productive, think more clearly, and are receptive 

to new ideas. If you are a careful and objective observer of the self, these natural rhythms can be 

recognized and utilized. We have been conditioned to work by the clock because this was assumed to be 

the most productive method of extracting labor, but this may not be the most efficient for the individual. 

The craftsman who works for himself is able to establish his own hours and find his own most productive 

cycles. The caveat is that one must also be the boss and the bottom line is productivity. 

The tendency for some is to work all the time and unless you take time off you don't get any. Time off is 

essential, not only to rest the body, but also to renew the mind and spirit. Time is needed to recharge and 

stimulate. The well worn path from house to shop can be a comfortable routine and one gets lost or bored 

when it is broken, but it can also become a stagnant environment. 

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There is also a period of downtime after completing a really complex or creative piece. I use to try to 

fight through this period, but now have come to accept that I have been drained and any attempts will 

forestall the recovery time. I use this time to putter and tidy. Those projects that you have put off and 

been meaning to get to, now come in handy. Slowly things will start coming back into focus and before 

you realize it another piece is started. The struggle for the artist is to keep the bills paid while you are 

recharging. The only way I know to do this is to have several income streams. Developing a less 

complicated product or service can generate enough capital to fund the more creative efforts, but they 

have a way of growing out of control and taking over your time. Striking the balance is the lesson. 

Ingestion 

The creative process is the expression of your experience. If you are not taking the time to reflect on your 

life or make it stimulating, you will quickly stagnate. You are expressing growth, but to grow it is vital to 

feed your spirit. My first blacksmithing mentor, Peter Happny, plans an annual vacation adventure. He 

will save the time and money to visit the shops of Europe, explore the islands, even drive around the 

country and visit with other smiths. It is a good way to recharge, learn and experience new ideas, and is 

vital to personal growth. 

My approach is more sedentary, I love books. When I read my books, I am absorbing images, line and 

design. The problems presented by the materials are universal and the solutions are wonderfully creative 

from culture to culture. The advantage of being born in the US is that we are not bound by tradition and 

can freely borrow ideas from all other cultures. The trick is to absorb what rings true and honest, learn 

from it and then let it come back with the same honesty. 

A simple walk when done with a clear and open spirit will often recharge and revitalize. There are 

number of books out there describing right and left brain function. Activity that uses both sides of the 

body, like walking, helps to balance the mind. Deep breathing has a balancing effect as well. 

It is difficult to quiet the mind sometimes. We block receptivity by holding onto negative thoughts and 

instead of growing, we chose to limit ourselves by allowing these thoughts to dominate. One way to 

break through the cycle of negative and limiting thinking is to remind ourselves of our ideal. 

Digestion 

Most creative thoughts and experiences come more though the environment in which we surround 

ourselves rather than from some epiphany. Since we are seeking to find expression through difficult 

materials, often beauty and discovery are revealed as we observe the work. We learn to use our tools and 

discover new uses by allowing ourselves the freedom to play. By observing our interactions with our 

world and reflecting on them, we will be drawn to discovery. It will fill us up. 

Doldrums 



There will be times when we hit the doldrums. There is no wind in the sails, no direction to our efforts. 

These can be frustrating and potentially destructive times especially if we are burdened with overhead. 

There is a difficult balance between going to the shop and having fun and the driving need to make a 

living. These two forces should not be in conflict, but without a balance they often seem like opposites. 

There is only one answer to times like these and that is to start moving again. Begin the next order or 

next project, begin and work patiently. Soon inertia will begin to loose it's hold and you will regain 

momentum. 

We all go through these periods, it is a normal cycle and part of the recovery. It is the balance to the 

creative burst that will inevitably come at the other end. The difficult part is to remember that we are in a 

cycle of balance and to have faith. 

Inside Out 

Too often the artist/craftsman is working from his intellect. Intellectual work is immediately dated or so 

subjective that it requires verbiage to sustain it and it is rarely satisfying. Creativity is an inside out 

activity. You can not get there by consciously imposing yourself on the material, but rather you have to 

find yourself through the material. You have to let go. 

Fire 

Peter Powning Discus 


Home|Bookstore|Available|Feedback 


Fire 

Fire 

" Of the four elements, the gods left the secrets of only one in the realm of man. And with it, he 

forged his will upon the world" 

I once met a famous sheik, leader of the Helvetti dervishes in Istanbul. It was said that he could see a 

man's destiny and so in conversation with him one evening, I asked if he could see my destiny. "You will 

be drawn to the flame and consumed," he said. At the time, I wasn't sure that this was a good thing, but 

he assured me that it was wonderful. I didn't realize how literal his vision would be until I found myself 

staring into a white hot welding fire twenty years later and made the connection. 

The craftsman has an affinity for his materials and for the processes. Working with fire has been one of 

the attractions of forging. Fire is a powerful and dangerous ally, it accounts for the alchemy of the craft. 

If I am away from the fire for too long, my direction falters and when I fire up, I am revitalized. Fire 

skills are the first to leave for me also. If I am struggling, it often starts with the fire. I will rebuild or 

redesign my forge routinely as I gain more understanding or to reacquaint myself with the flame. A right 

fire is wonderful to work with and can unlock matter making it responsive and expressive. It is too easy 

to forget the tools or become complacent with them, but fire demands attention. I have moved toward 

technology to control my fires, but quickly was forced to accept that even though I can add controls and 

aids, the real work is in the attunement to the fire and that can never be replaced by a probe or controller. 

Fire serves also as a symbol of the energy of the path. It transmutes material and purifies. In the 

incandescent white heat of a welding fire, I am reminded of purity. It is the key that unlocks the physical 

world and reveals the structure within the chaos. 

The work of the craftsman is directly related to his understanding of the materials and processes. As a 

craftsman matures, his relationship to his media changes in very subtle ways. For the bladesmith, the 

central material is steel and the primary tool is fire. Because the steel is so responsive to the fire, even 

minor changes can have a profound affect on the finished piece. I believe this is true with all things. It is 

in our attunement that the nature of things is revealed. My education has been much like a jigsaw puzzle, 

pieces of information linking together with experience to reveal a pattern. It is a process of conflating 

these random bits into a tangible base of understanding and that is ultimately expressed through the 

creation of work. Understandably my view is personal and unique, but when I look at the world, it has 

given me a place to stand. 

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Fire 

Winds of Liberation by Phillip Sugden For more images on this site 

click on Tibet 

Vibration 





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Fire 

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Tibet 

Phillip Sugden 

For more work visit the Asian Arts exhibit featuring Phillip Sugden's work 

http://www.dfoggknives.com/tibet.htm [11/2/2003 2:09:14 PM] 

Home|Bookstore|Available|Feedback

Available 

Available Knives 

Click on the image or link for more information and graphics 

Corded Skinner by DFogg SOLD 

One of the problems with doing one of a kind work is the delay in making and 

delivering the product. A customer interested in the work places an order then has 

to wait several months and sometimes years before receiving it. It is possible to 

buy directly from the maker at the custom knife shows, but even then it is 

difficult for the maker to create pieces and still satisfy his obligations. I am 

hoping that the web will provide an alternative to this process. I am going to set 

aside time to make pieces that will be offered directly via my web site. These 

knives will be available for immediate delivery and will be sold on a first come 

first serve basis. If this idea interests you and you would like to be notified when 

http://www.dfoggknives.com/availabl.htm (1 of 2) [11/2/2003 2:09:15 PM]

Available 

there is a new knife available, please Email me and I will add you to my list. 

When a knife is posted, I will contact the members on the list via email, attach a 

thumbnail photo of the knife and include hyperlinks to larger images. I am using 

a new electronic payment system called PayPal. Click on the link below to sign 

up. It is a no fee way to securely transfer money via email. Cash, money order or 

checks are accepted. 

Don Fogg 

40 Alma Rd 

Jasper, AL 35501 





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SamSkinnerCordIll 

Samurai Skinner 

It is forged from 1095, single bevel grind, selectively hardened and polished to show a nice hamon. The 

handle is cord wrapped with an over wrapped diamond pattern. It comes with a sheath and I am asking 

$415 with shipping. If you are interested please Email me. I will sell this knife on a first come first serve 

basis. I accept PayPal. Thanks. SOLD 





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http://www.dfoggknives.com/vibrations.htm 

Vibrations 

All that is, moves. This movement can be described as vibration. What we glean from our lives is related 

to our ability to perceive those vibrations. Call it a song. Just as the strings on a fiddle will begin to move 

in harmonious response to music being played, we respond to the vibrations that surround us. It is a 

subtle effect and in the discordant blare of modern life, it is often hard to discover, but it is there if we 

can only listen. 

It is hard to control all the variables that interact with us in the course of our work, but in the shop we can 

be aware of those that we do allow to enter. I use to work with the radio or tape playing constantly, 

blaring is a better word for it. I would crank up the volume to over ride the noise of the machines. A 

friend was visiting with me one day and he commented on it. "Doesn't that bother you, playing all the 

time?" I had never thought about it, but after he left, I made a point not to turn the sound on 

automatically. I noticed immediately that the shop was more peaceful and that I was able to focus. Soon I 

began to like the sound of the hand tools on the material. I still listen to taped music, but I use it now 

consciously and am more thoughtful about what I listen to. 

It is not just sound vibration that affects us. If you accept this process as a way of changing and refining 

yourself then you will inevitably be lead to search out those things that block you. For me perhaps the 

greatest single element affecting my life has been the quality of the foods that I eat. Each food too has a 

vibration. Foods that are balanced and centering would be whole grains, beans and vegetables. Extremes 

would be animal products, sugar, and refined food. You can change your way of life simply by changing 

what you eat. 

It is helpful to unplug on a regular basis. Go off by yourself, away from any modern distraction and just 

experience the natural world. So much of our lives are caught up in human energies that it may feel 

disconcerting and uncomfortable at first, but it will calm the spirit. 

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http://www.dfoggknives.com/vibrations.htm 

Recently a friend invited me to go ginseng hunting. When I arrived at his place it had begun to drizzle. 

We resigned ourselves to getting wet and went into the woods. Ginseng is a shy plant. It grows in the 

shade of old growth forests on the side of the mountains. We hiked into the woods to a forgotten corner 

of a preserved forest and began to hunt. The drizzle turned to rain and then the skies opened and the fury 

of a wild thunderstorm pelted and whipped around us. We went from wet to drenched. We continued to 

hunt. The woods were wild, footing treacherous, but because of the elements we were forced to focus and 

old senses were awakened. The rain washed away all burdens from me and heightened my awareness. 

I found the old plant and it seemed to glow in the light of the storm. It caught my eye in much the same 

way as happens when you feel someone looking at you. We had chosen to hunt after the berries had set 

so that once the root was harvested, new seed were planted insuring that the plant would survive. I 

gathered enough root that day for my personal use, but at the same time I gathered much more from the 

experience. The routine of my day to day had been washed away and by contrast I realized how my life 

had become encrusted within its own thoughts and patterns. It was as if I had been playing my own 

music constantly and caught up in this mental environment, I was deadened to the subtler vibrations 

around me. Once again the process is to let go. 

Self 






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Time Out Bell 

Time Out Bell: Damascus steel bell with 18k gold and shakudo fittings, silk cord with amber bead. The striker is 

snakewood with amber and gold. The circumference is 2.25" and it rings with a clear pure tone. 

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Revised: June 27, 2001.

Self 

Self 

When we are working, the entire focus is on the work being done. The personal thoughts that do arise are 

an intrusion and over time we learn to set them aside or they will interfere or ruin the work. This is not to 

say we are not thinking or that we are not conscious, it is just that we are not "self centered" and in this 

state of mind is peace and relaxation. We are in the moment, adjusting to the process, making thousands 

of actions and reactions as the work progresses. We are in the act of creation and as I have said, the tool 

works on both ends. The real product that we are making is the creation of our self. 

We have come to identify ourselves with our ego, I am who I am. If we accept this egocentric point of 

view as consciousness then we have a problem. The body receives billions of bits of information every 

second, but our consciousness is only capable of processing 40 or 50 bits. Not only that, we can not do it 

in real time, there is a lag of up to half a second between stimulus and response. 

Looked at in another way, what you assume is you, is really just a distilled reconstruction of your 

experiences created in the past tense. Since we are constantly in the process of creating ourselves, then it 

is just as easy to work towards creating our ideal self. We can do this through our work. When I work, 

the mind is racing around initially. It is the mind's job to connect the pieces of your experience into a 

coherent pattern, but this is background processing and does not need your attention. What does need 

your attention is right at hand and that is the work before you. 

If you have ever tried to shoot a basketball or hit a golf ball, you know that it is nearly impossible to do 

with any success if you think about it. In fact, one of the most appealing parts about playing sports, is 

that you can get in a state of consciousness that is alert and in the present moment, without being in your 

conscious self. When you are working in an unselfconscious manner, you will become aware of the 

distractions that are not obvious from any other perspective. Some of these distractions are not important 

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Self 

and can be suppressed by discipline, others arise like an alarm and need to be addressed. 

Each and every morning when you open the shop and go to work, you have to begin all over again. The 

pieces do not make themselves. Even practiced skills need the full focus of your conscious mind. I found 

myself forging a blade last week when I had other things on my mind. Before I realized it I had beat up 

the steel. It was distorted and abused beyond recognition. It made me laugh that I could have been so 

inept and I realized that despite a lifetime of making blades, the one that was before me was the one that 

mattered. It demanded that same attention as my first blade and it brought me back into focus. 

We live in a time that insulates us from responsibility. We insure our homes against loss, we insure our 

health, our car, our jobs through tenure if we are able. We accept canned music, TV, microwave popcorn, 

and theme parks. Every aspect of our lives is packaged, franchised and "safe", but there is a terrible price 

to pay for safety. We have abdicated responsibility for our own lives. No one is responsible or 

accountable for their actions anymore. If we are not responsible for what we do, then we can not truly 

know who we are or who we are capable of becoming. 

I have a friend who use to sheep hunt alone in the interior of Alaska. He went nearly every year, not so 

much for the hunting, but for the feeling of being responsible for himself. Out on the mountain, far from 

any other human, he was forced to watch every step. A moments inattention would have cost him his life, 

yet instead of fear, he felt exhilaration. He felt alive. His senses were alert and he was open to experience 

the wonder and awe in the beauty that surrounded him. We do not need to go to Alaska to get that same 

sense of exhilaration, working mindfully in the shop and accepting responsibility for the work of our 

hands teaches the same lesson. We are ultimately responsible for our lives. In every step and action we 

take, we are creating our lives, it is what we do with our time. If we choose to do it mindfully we will 

continue to grow. 

Raven's Head guard by Murad Sayen 






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New Page 1 

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New Page 1 

Bear Dagger: the blade is a feather Damascus pattern made from 15N20, 1095, and 5160 steels. The 

handle is by Murad Sayen and features a carved bronze guard with abalone eyes and fossil walrus ivory 

handle done in a polar bear theme. This piece was completed May 1999 




Revised: July 21, 2002. 

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Life 

Life 

It reminds me of a waterfall, this experience of life. Water pours off the precipice and in its free fall to 

the bottom, individual drops form. They are distinct from the main flow and unique for the brief tenure of 

their flight. From this perspective, each drop becomes an entity in and of itself. It experiences the forces 

acting upon it. It conforms and yet maintains its integrity until the brief course is over and it once again is 

shattered and reformed into the river below. 

We struggle to maintain this precious vantage, to learn, to see with new perspective, but in the end we are 

reabsorbed and reformed. Our time is brief. If seen in a galactic reference, it is immeasurably brief, yet 

we know innately how precious life is. It is through consciousness that we are able to slow down the 

moment and succor the experience. How sweet are those moments that linger, they are the pearls we 

string on the necklace of our lives. 


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Don Fogg Custom Knives

Life 

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Revised: October 28, 2003.

Perfection 

Perfection 

We are balanced on the edge when we create, it is an act of faith, of surrender. We are open to the beauty 

that is unfolding before us, but simultaneously there is the jinn of the ego darting in and out. Sometimes 

it stabs us with doubt and a palpable rush of fear sweeps through us. Only when we have faith in the 

process and let go will the work begin to flow again. Seeing the beauty that surrounds us, not in the 

flawless execution of an idea, but in the discovery of the true nature of things. 


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Why 

Why? 

"Although we may be satisfied with our lives both financially and materially, seeking only after material 

satisfaction could take away our very reason for existing. The question is this: self-affirmation or selfdenial 

("Do I stay true to myself or not?")? The voice forced this question." Shiho Kanzaki 

I think about what I do and why I do it. The little motivations that make me choose one path over another 

other are rarely as spontaneous as they appear, nor are they as calculated as I deserve credit or blame for. 

On the whole, I try to think about my actions and reactions in hopes that I may anticipate the opportunity 

to live consciously. 

One conscious decision that I make every morning is to go to work. What I have chosen for work does 

not come with a guide book. The day is filled with moments that challenge me and tempt me away, but 

on the whole, I look forward to opening the doors and setting the day in motion. 

The challenge that we face every day is to make the most of it. This is not easy to measure because it can 

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Why 

not be calculated simply in terms of work accomplished or money earned. The days that I remember have 

more to do with being awake than any constructed purpose. For instance, one hot summer day, I was 

deeply involved in the work, but I had reached a point where I needed a break. Coming back from the 

house, I walked by the swing seat under the trees and it looked attractive to me. I stopped, went back to it 

and sat down. My mind was roiling with thoughts, but sitting there in the shade it began to calm down. 

My backyard has a high canopy of leaves formed by the tall hardwoods. I can walk from the house to the 

shop without ever getting direct sunlight. The ground is covered with moss and it is one of my favorite 

spots in the summer because it is always cooler under the trees. My thoughts finally settled and I became 

aware of an ever so gentle breeze on my cheek. It felt really soft and cool, almost like a kiss. What it was, 

I realized, was the natural convection of air, flushed with fresh oxygen from the trees. It slid over my 

skin like a blessing. I don't remember what I was working on that day, but I will forever remember that 

kiss. It reminds me to be quiet. 

Sometimes it is very hard to make things. It isn't that we don't work, but the times when we struggle most 

are when we work without purpose. What the craftsman has after his work is done is the way the work 

has changed him. The work is sold and goes away, the money is spent and so nothing is left of any real 

value except what we have gleaned from the experience. When I surrender that through unconscious 

activity, then there is no purpose and I am empty. 

The contrast is the time that has been spend unraveling the cocoon of consciousness. All those thoughts 

that fill our mind and occupy our precious time so far away from our hands, must be noticed and then 

swept away. With that simple duty, we can begin to make use of our time. We begin to interact. 

I speak of consciousness in loose and often contradictory ways, because in fact consciousness defies 

description. We move through it like levels of light. Like light, what we are able to perceive depends on 

the clarity, brilliance and color of our consciousness. 






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Truth 

Truth 

When you declare that you intend to pursue truth in your life then all that is obviously false about 

yourself becomes painfully apparent. These are the things you need to work on. The little self will object, 

deny, and resist any change, but overcoming the little self is the goal and objections only serve as clues to 

what needs to be confronted. 

It is curious that we would do anything that is not in our self interest, but because we identify with our 

little self, our self interests are almost always self destructive and weak. Life is hard enough without 

weakening ourselves yet we are all doing it. It has bothered me because I confront myself with this 

dialog every day, every minute of every day sometimes. 

The work is to reach beyond ourselves, to let go of what is safe and stretch. The more we conquer our 

little self, the stronger and clearer we become. For me, making things with my hands has provided a way 

to see the process. It is a joy to translate time into objects because the object becomes an event in my life. 

It captures every nuance of my struggle and reflects it back to me so that I can learn and grow. 

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Truth 

There are pitfalls to this approach though and the most obvious is that we identify ourselves with our 

work, failing to remember that the real work is within. Others have a tendency to identify you with the 

work that you do as well. The way that others respond to you can have a huge effect on how you perceive 

yourself, it is another form of feedback and is very powerful. Knowing yourself is the best shield against 

the assaults of the world. 

When I speak about knowing yourself, I do not mean yourself the individual, but rather the universal self. 

It is that knowledge that comes from truth. The individual self, the organism, is always on the verge of 

being crushed by the universe. Let go of that perspective and one is not crushed, but transformed. The 

universe, or multiverse as current thinking is conjuring, depends upon the observer. It is an active 

creation and the mystery of it unfolds before us as we seek it out. 






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Serving Bowl by Craig Bird 


It seems strange, but we often work unconsciously. The objects we produce have a familiar form, but we 

are so involved with the techniques and embellishment that we often over look the fundamentals of the 

object in our conscious decisions as we work. After receiving this bowl, I had a conversation with Craig 

Bird about it and the details of it's construction of it prompted me to think about working consciously. 

Craig throws his pieces beginning with the base size already established. While this could be more easily 

added, he likes the fact that the form all flows from this starting point. It requires mastery to pull such a 

thin wall out this way. The extended lip adds to the delicacy of the piece, but also provides a sure way to 

handle the vessel especially when it is hot and full of food. The cover sits firmly on a recessed rim 

providing a good seal to hold in the heat and aromas. The handle on the cover is shaped so that it can be 

grasped even with an oven mitt and held securely. These were fundamental decisions he made, criteria 

established from which he then made aesthetic decisions about the form and decorative language. This 

piece is fragile enough that one must be careful when using it, but that too is a way to involve the user in 

the object and in a way allow them to respect and appreciate the object. I am grateful to own this and it 

will add to the richness of my life by its presence during our meals. 

http://www.dfoggknives.com/Conscious.htm (1 of 2) [11/2/2003 2:09:26 PM]


This conscious attention to detail is often missing from the crafts. We have jewelry that is too bulky or 

heavy to actually be worn; furniture that is uncomfortable to sit in, fabric too delicate to be touched; 

knives that feel awkward in the hand. There seems to be a need to move further from the functional in 

order to be perceived as creative and artistic, but sadly this work is often neither artistic nor functional. It 

lacks a reason for existing. 

Perhaps this is cultural, a sign of our times that you have to shout to be heard and in our desperate desire 

for attention we add more glitz and more googa to be noticed. We have forgotten that expression begins 

with having something to say and that if what you have to say is valid and honest then it will be heard 

even in the din of blather. We have to have faith that if we work consciously and honestly, the objects 

that we create will have their own energy and they will attract the attention of those who are sensitive 

enough to understand. 






http://www.dfoggknives.com/Conscious.htm (2 of 2) [11/2/2003 2:09:26 PM]

Collectibles 

Gallery 

The acceptance of knives as a modern collectible has been a world wide phenomena. It is 

an art form that has ancient roots however and in every culture the knife or sword, in it's 

highest form, became a symbol of power and honor. 

As an artist, knives provide a challenging opportunity to work with exotic and beautiful 

materials. The craft is based on the functional qualities and within the constraints of the 

form, great variety and beauty can be achieved. The knives I will be showing have been 

created by myself solely and in collaboration with other craftsmen and artists. Knives in 

this category are strictly one of a kind and may be commissioned by contacting me directly 

via Email 

Kemal 

http://www.dfoggknives.com/collecti.html [11/2/2003 2:09:27 PM] 

Kelso-Fogg Don Fogg 

Home|Bookstore|Available|Feedback|Collecting knives 




Kemal 

Kemal, pronounced key-mall, was a partnership between Murad Sayen and Don Fogg. We joined our 

creative energies so that I could focus on the Damascus blades and Murad could turn his artistry into 

handles. Murad was an oil painter and photographer before turning to knives and had been making 

hunting knives when we met. Our partnership lasted for nearly a decade and during that time we 

produced museum quality work. It was the synergy of our individual drive and vision that made it work. 

The name Kemal is an Arabic word referring to the state of balance between the creative power of the 

sun (Jelal) and the receptive power of the moon (Jemal). It can be literally translated as "balanced" or 

"perfect." We chose this name for our business as a living ideal for the qualities that we tried to build into 

each knife. 

For the first year we shared my home and shop and threw ourselves into the work. Murad move to Maine 

during the second year and we use to meet in Portland at a small cafe to show each other the work and 

plan for the coming pieces. The object was to make the other gasp and there were many occasions when 

it was impossible not to. There are times in our lives when it is apparent that we are in the right place at 

the right time and Kemal was definitely one of those times. 

Our work had been well received and been featured on the covers of books and magazines over the years. 

I am offering a sampling of some of my favorite pieces in the thumbnails below. Click on the image for a 

larger picture and some details about the piece. We still collaborate on a commission basis only. For 

http://www.dfoggknives.com/kemal.htm (1 of 2) [11/2/2003 2:09:29 PM]

Kemal 

more information you may contact me or Murad Sayen at muradsay@shadowchasers.com Also, check 

out Murad's web site at ShadowChasers 

Recent Work 

Home|Bookstore|Available|Feedback|Collectibles 




http://www.dfoggknives.com/kemal.htm (2 of 2) [11/2/2003 2:09:29 PM]

Whale 

Whale Dagger: Water pattern Damascus blade 6", carved steel handle, fire blued. 

http://www.dfoggknives.com/whale.htm [11/2/2003 2:09:31 PM] 

Home|Bookstore|Available|Feedback|Kemal 




Dolphin 

Dolphin dagger: Composite billet Damascus blade with wave pattern steel surrounded by straight grain 10", the guard is carve 

iron with inset stones and a carve fossil walrus ivory handle. Photo by Weyer of Toledo 

http://www.dfoggknives.com/dolphin.htm [11/2/2003 2:09:32 PM] 




Revised: July 21, 2002.

Dragon 

Dragon: Kemal, collaboration between Murad Sayen and Don Fogg. Damascus fighter 

8" blade, carved steel guard with opal eyes, carved fossil walrus ivory handle and 

curley maple scabbard. Photo by Weyer International 

http://www.dfoggknives.com/dragon.htm [11/2/2003 2:09:33 PM] 




Revised: April 04, 2002.

Sufidagger 

Sufi Dagger: Damascus faces pattern blade 8", carved steel guard with gold inlay and carved fossil ivory handle. Sheath 

curley maple with iron fittings. 

http://www.dfoggknives.com/sufidagg.htm [11/2/2003 2:09:34 PM] 





Ewok 

Kemal: The collaboration between Don Fogg and Murad Sayen. The blade is made from forge welded 

layers of high carbon steels and wrought iron. The handle by Murad features a carved bronze guard and 

ebony handle. Photo by Weyer of Toledo. 

http://www.dfoggknives.com/ewok.html (1 of 2) [11/2/2003 2:09:36 PM] 


Don Fogg Custom Knives

Ewok 


Revised: December 14, 2001. 

http://www.dfoggknives.com/ewok.html (2 of 2) [11/2/2003 2:09:36 PM]

Falcon 

Falcon: Damascus W's pattern blade 8", iron ferrule with gold inlay, carved fossil walrus ivory handle with inset gem stone eyes. 

http://www.dfoggknives.com/falcon.htm [11/2/2003 2:09:37 PM] 





Pan'sdagger 

http://www.dfoggknives.com/pan.htm (1 of 2) [11/2/2003 2:09:38 PM]

Pan'sdagger 

Pan's Dagger: Damascus blade with recessed panel, carved iron guard, carved fossil walrus ivory handle 

with gold inlay. 





http://www.dfoggknives.com/pan.htm (2 of 2) [11/2/2003 2:09:38 PM]

KemalDragon03 

Dragon Dagger - Kemal 03 Sold 

This is a newly made Dragon Dagger featuring a Damascus blade by Don Fogg and fully carved handle by Murad Sayen. The 

blade is nearly seven inches long, water pattern Damascus steel. The handle is fossil walrus ivory that has been carved into 

spiraling segments. The guard is hand carved steel, peened and fire blued. The Dragon has synthetic opal eyes and is signed 

Kemal 03 on the throat. It comes with a curly maple scabbard with brass frog button. The knife balances at the front edge of the 

eyes and feels great in the hand. 

Blade Detail Scabbard Detail Guard Detail 

Kemal knives are classics of the modern American custom knives. This team reunites on rare occasions to create new pieces. 

This is an exceptional and rare knife. The asking price is $2,950 US. If you are interested respond by Email. Sold 

http://www.dfoggknives.com/KemalDragon.htm [11/2/2003 2:09:40 PM] 



Revised: May 21, 2003.

KemalDragon03Blade 

Kemal Dragon | Scabbard Detail | Guard Detail 



Revised: May 20, 2003. 

http://www.dfoggknives.com/KemalDragon03Blade.htm [11/2/2003 2:09:41 PM]

KemalDragon03Scabbard 

Kemal Dragon | Blade Detail | Guard Detail 




http://www.dfoggknives.com/KemalDragon03Scabbard.htm [11/2/2003 2:09:42 PM]

KemalDragon03Guard 

Kemal Dragon | Blade Detail | Scabbard Detail 




http://www.dfoggknives.com/KemalDragon03Guard.htm [11/2/2003 2:09:43 PM]

Kelso-Fogg 

Bat Dagger: Hot sculpted Damascus blade with raised center panel one side and batwing pattern flat 

ground on obverse blade by Don Fogg, silver habaki, carved precious metal ferrule, carved ebony handle 

with gold accents handle by Jim Kelso. This knife was exhibited at the National Ornamental Metals 

Museum, Memphis, TN and featured in American Craft Magazine, "The American Art Knife," 

February/March 1993. 

Chrysanthemum Folder: Damascus steel blade by Don Fogg, carved sterling silver handle with 18k gold 

handle by Jim Kelso. Mechanism by Joe Kious. Click on image for expanded view. 

http://www.dfoggknives.com/kelso.htm (1 of 2) [11/2/2003 2:09:45 PM]

Kelso-Fogg 

Life and Death Dagger: Collaboration Jim Kelso and Don Fogg. For enlargement and details click on 

image. I have posted other images of Jim Kelso's work at Jim Kelso 

Home|Bookstore|Available|Feedback|Collectibles 




http://www.dfoggknives.com/kelso.htm (2 of 2) [11/2/2003 2:09:45 PM]

Chrysanthemum 

http://www.dfoggknives.com/chrysant.htm [11/2/2003 2:09:45 PM] 




Revised: December 14, 2001.


http://www.dfoggknives.com/life_and_death_dagger.htm (1 of 2) [11/2/2003 2:09:47 PM]


Life and Death Dagger: Feather pattern Damascus steel and textured wrought iron blade, 10" by Don 

Fogg. The handle features a carved silver and gold demon on the textured side with carved ebony. On the 

reverse, a silver and gold orchid flower with carved ebony and inlay stone. Handle work by Jim Kelso. 

Home|Bookstore|Available|Feedback|Kelso-Fogg 




http://www.dfoggknives.com/life_and_death_dagger.htm (2 of 2) [11/2/2003 2:09:47 PM]

D.Fogg 

These are recent pieces with links to larger images. I have organized the thumbnails into 

broad categories below to speed up viewing. 

Sculptural | Daggers and Tanto | Swords | Using Knives | Curious 

http://www.dfoggknives.com/D.Fogg.htm [11/2/2003 2:09:49 PM] 

Collectibles|Biographical 






Blue Bowie Spirit pattern Damascus blade 9" with Damascus fittings, gold and shakudo accents and blue 

fossil walrus ivory handle. 


http://www.dfoggknives.com/Bluebowie.htm (1 of 2) [11/2/2003 2:09:50 PM]





http://www.dfoggknives.com/Bluebowie.htm (2 of 2) [11/2/2003 2:09:50 PM]



This Southwestern style carbon steel Bowie has a 9 inch blade and is 14 inches overall. It features Damascus 

guard and pommel and a select stag handle. The spacers have been contoured to the stag so that the bone remains 

intact. The fittings are fire blued and it comes with a leather scabbard with nickel silver throat and tip. The blade 

has been selectively heat treated and shows a nice hamon. For a more dramatic photo that emphasizes the 

temperline click here Stag Bowie Page 2 This blade has very nice balance and feels good in the hand. It is sharp 

and quick with graceful lines. 

http://www.dfoggknives.com/stagbowie1.htm [11/2/2003 2:09:51 PM] 







This is a second illustration of the Stag Handle Bowie featured on Page 1 For more information please refer to 

that page. 

http://www.dfoggknives.com/stagbowie2.htm [11/2/2003 2:09:52 PM] 





Osoraku 

Osoraku-Zukuri style tanto. Blade forged from 1086 tool steel, traditionally heat treated and polished to show 

hamon. The blade is 14" long and 21" overall, at its widest, it is 1 3/8ths inches. It has fuller grooves down both 

sides. It has a copper habaki and shakudo seppa and is in shira saya. The tsuba is feather Damascus and the 

ferrule and butt cap are made from the same billet each has been fire blued. The spacers are shibuichi, a copper 

and silver alloy, with a 24k gold inlay. The handle is carved bloodwood. The scabbard is lacquered with a carved 

bloodwood throat and ossik kurigata and silk cord. The stand is also bloodwood. 

http://www.dfoggknives.com/osoraku.htm [11/2/2003 2:09:53 PM] 




Revised: January 04, 2001.

NewViking 

New Viking 

The blade is 15" forged from 1086 high carbon steel and selectively hardened and polished to show temperline. It has a 

http://www.dfoggknives.com/New%20Viking.htm (1 of 2) [11/2/2003 2:09:55 PM] 

.

NewViking 

nickel silver collar and spacers with shakudo center element and detail on the pommel. The fittings are Damascus, the 

pattern is shown in the background of the image. The handle is African blackwood. The blade is marked on the guard with a 

24k gold cherry blossom. 

Slideshow of work in progress 





http://www.dfoggknives.com/New%20Viking.htm (2 of 2) [11/2/2003 2:09:55 PM]

VikingConstruction 

Viking Construction Photos 

This is a slide show of images that I took during the construction of the New Viking blade. It is not complete, but will give you a look at some of the stages of the work as it progressed. I will try to do a better 

job of documenting pieces as they are built for use in this format. 

http://www.dfoggknives.com/Viking%20Construction.htm [11/2/2003 2:09:57 PM] 





.

CarvedTanto 

Tanto with 10" Damascus blade, copper habaki and Damascus tsuba and butt cap. The handle is carved bloodwood with an ivory retain pin. 

http://www.dfoggknives.com/CarvedTanto.htm [11/2/2003 2:09:58 PM] 





Tanto folded and welded steel 

Tanto folded and welded steel, double edge with hamon. Habaki textured copper with gold and shakudo 

coloration, shakudo spacers and pin, Damascus tsuba and pommel, with macadamia wood handle. 





http://www.dfoggknives.com/MacadamiaTanto.htm [11/2/2003 2:09:59 PM]

Sculptural 

The form that knives can take is limitless and because they are such powerful symbols, they beg to be 

interpreted. What has interested me visually is the contrast between the organic textures and the precise, 

controlled finishes. It is the juncture of "sensitive chaos" and the edge we all walk through life, teetering 

on the brink of chaos, creating order from the cold. These pieces represent my understanding of that 

balance and my attempt to express it visually. Click on thumbnail for more. 

http://www.dfoggknives.com/Sculptural.htm [11/2/2003 2:10:00 PM] 





Oldbone 

photo by Weyer International 

Old bone: Damascus sword with textured flats, Damascus tsuba and ferrule, shakudo(copper and gold 

http://www.dfoggknives.com/Oldbone.htm (1 of 2) [11/2/2003 2:10:01 PM]

Oldbone 

alloy) spacers, garnet set in gold pin. Fossil walrus ivory handle. This sword started with the fossil bone. 

The bark was water worn exposing the layering and coating it with a chocolate brown color that was skin 

deep. The bone was actually an artifact, a tool held by some prehistoric man. It was too perfect to touch, 

to beautiful to enhance in any way and so the blade grew from it. 

Home|Bookstore|Available|Feedback|DFogg 




http://www.dfoggknives.com/Oldbone.htm (2 of 2) [11/2/2003 2:10:01 PM]

Midline Crisis 

Textured Dagger: Damascus blade with ladder pattern edge, forged textured inset panel, gold accent 

copper habaki, fire blued iron fittings, gold accent copper overlay, 24k gold wire inlay, bloodwood 

handle 

http://www.dfoggknives.com/texdag.htm [11/2/2003 2:10:02 PM] 





Seven Year Sickle 

Seven Year Sickly photo by Gallagher 

Seven Year Sickle: This piece was displayed at the Craft Alliance Gallery show of contemporary 

metal work in Kansas City, MO this winter and also at the ECCKS show in New York City. It is the third 

in a series of sickle shaped blades that by chance have occurred at seven year intervals during my career. 

The blade is Damascus that has been heavily textured along the flats and spine on one side. The reverse 

side is polished Damascus and shows the spirit pattern developed by the texturing. It provides a very 

dramatic contrast in the surfaces of the blade. The guard is iron and has forged ferrules front and aft. The 

handle is a fossilized walrus ossik that has rich browns with some blue. The end of the handle has been 

fractured and left raw and naturally textured. The pin is 24k gold bezel holding a garnet cab. 

http://www.dfoggknives.com/Textsickle.htm [11/2/2003 2:10:03 PM] 

Early Sickle 





Sickle 

Sickle: Damascus blade with textured and fire blued finish. Guard is aged stag, 

handle is burled wood, Damascus butt cap. Photo by Weyer International 

http://www.dfoggknives.com/sickle.htm [11/2/2003 2:10:04 PM] 

Home|Bookstore|Available|Feedback|DFogg

Nosedagger 

Nose Dagger: Don Fogg 

The blade is Damascus steel and features an overlay of Damascus in a repeating pattern. The transition is 

http://www.dfoggknives.com/nosedagg.html (1 of 2) [11/2/2003 2:10:05 PM]

Nosedagger 

a forged iron helmet leading to a Damascus fittings and a carved ebony handle. 





http://www.dfoggknives.com/nosedagg.html (2 of 2) [11/2/2003 2:10:05 PM]

Daggers 

Daggers are a personal side arm, carried throughout history, they are intimate and have many forms. I 

have made a lot of daggers over my career and still am attracted to them. These represent a sampling of 

work that I have done. Click on the thumbnail for larger images. 

http://www.dfoggknives.com/Daggers.htm [11/2/2003 2:10:07 PM] 





Sphere dagger 

Sphere Dagger: All Damascus dagger with cross sectional handle change and riveted and overlay of steel 

spheres. 

http://www.dfoggknives.com/sphere.htm [11/2/2003 2:10:07 PM] 





Ivoryquillion 

http://www.dfoggknives.com/ivoryqui.htm (1 of 2) [11/2/2003 2:10:09 PM]

Ivoryquillion 

Damascus quillion dagger 9 inch blade, Damascus fittings with gold inlay and fluted ivory handle with 

twisted gold wire inlay. This dagger won best art knife at the Blade Show 1997 





http://www.dfoggknives.com/ivoryqui.htm (2 of 2) [11/2/2003 2:10:09 PM]

Earwig 

Earwig Dagger: 10" Damascus dagger, riveted external members, steel plates, 

bloodwood handle, Damascus pommel. Photo by Weyer 

http://www.dfoggknives.com/earwig.htm [11/2/2003 2:10:10 PM] 





Leaf Dagger 

http://www.dfoggknives.com/leaf.htm (1 of 2) [11/2/2003 2:10:11 PM]

Leaf Dagger 

Leaf Dagger: Leaf shaped Damascus blade with integral bolster and pommel, Damascus composite billet 

construction with sunrise pattern center and straight line edges, snakewood scales and gold accents. 





http://www.dfoggknives.com/leaf.htm (2 of 2) [11/2/2003 2:10:11 PM]

Huntingdagger 

http://www.dfoggknives.com/huntingd.htm (1 of 2) [11/2/2003 2:10:12 PM]

Huntingdagger 

Hunting Dagger: All Damascus blade with texture handle section and riveted overlay. 





http://www.dfoggknives.com/huntingd.htm (2 of 2) [11/2/2003 2:10:12 PM]

Bubinga Tanto 

Bubinga Tanto 

Tanto forged from 1086, selectively heat treated and polished to show hamon. Textured copper habaki, Damascus 

guard and butt cap. The spacers are shakudo and with gold wire inlay. The tanto is marked with a 24k gold cherry 

blossom mounted in a shakudo pin. The handle is carved bubinga and it has a lacquered scabbard. This is a 

smaller blade only seven inches in length, but has presence. 

http://www.dfoggknives.com/bubinga_tanto.htm [11/2/2003 2:10:13 PM] 





Enso 

Enso this Damascus dagger was highly influenced by Japanese work, but maintains a European look. 

The blade features a complex pattern that shows a different look depending on how the light strikes it. 

The guard and pommel are Damascus and the handle is snakewood. 

http://www.dfoggknives.com/Enso.htm [11/2/2003 2:10:13 PM] 





Viking dagger with scroll Damascus blade 

Viking dagger with scroll Damascus blade, fire blued iron and Damascus fittings, 24k gold accents and 

bloodwood handle and scabbard 





http://www.dfoggknives.com/Vikingdagger.htm [11/2/2003 2:10:14 PM]

Swords 

http://www.dfoggknives.com/Swords.htm [11/2/2003 2:10:15 PM] 

Katana | Martial Arts | Short Swords 






Damascus Sword: 30" Damascus spirit pattern blade, riveted components, 

http://www.dfoggknives.com/damsword.htm (1 of 2) [11/2/2003 2:10:16 PM]


snakewood handle scales and Damascus pierced pommel. 





http://www.dfoggknives.com/damsword.htm (2 of 2) [11/2/2003 2:10:16 PM]

New Page 0 

Macadamia Wakisashi 

Hand forged high carbon steel blade, selectively heat treated and polished to show a very active hamon. The blade length is 21.5" with an 

overall length of 29". The habaki is forge textured copper as is the fushi kashira. The handle material is macadamia wood that has a braided 

silk wrap. For closeup images click on the thumbnail below. 

http://www.dfoggknives.com/MacWak.htm [11/2/2003 2:10:17 PM] 

Image Gallery 




MacWak 


Handle Closeup Hamon Tsuba 

JAlbum 3.5 




http://www.dfoggknives.com/photogallery/MacWak/index.html [11/2/2003 2:10:18 PM]

MacWakHan640 

1/4 9/18/03 8:23 PM MacWakHan640 

Handle is macadamia wrapped is gold brown silk braid. The tsuba is pierced Damascus. Habaki is textured copper with copper 

fushi kashira, gold plated seppa and shitodome. 

JAlbum 3.5 

http://www.dfoggknives.com/photogallery/MacWak/slides/MacWakHan640.html [11/2/2003 2:10:21 PM]

MacWakFushi640 

2/4 9/18/03 8:25 PM MacWakFushi640 

Copper fushi with textured collar and 24k gold cherry blossom logo 

JAlbum 3.5 

http://www.dfoggknives.com/photogallery/MacWak/slides/MacWakFushi640.html [11/2/2003 2:10:23 PM]

MacWakhamon640 

3/4 9/18/03 8:32 PM MacWakhamon640 

Detail of the hamon on the wakisashi 

JAlbum 3.5 

http://www.dfoggknives.com/photogallery/MacWak/slides/MacWakhamon640.html [11/2/2003 2:10:26 PM]

MacWakTsuba640 

4/4 9/18/03 8:35 PM MacWakTsuba640 

JAlbum 3.5 

http://www.dfoggknives.com/photogallery/MacWak/slides/MacWakTsuba640.html [11/2/2003 2:10:29 PM]

Shortswords 

This is a category of blade that falls between a full size sword and a dagger and usually runs in length 

between 12 inches and 24 inches. It is an interesting size because it has the presence of a sword, but is 

much more portable. Click on image large images and information. 





http://www.dfoggknives.com/Shortsword.htm [11/2/2003 2:10:30 PM]


http://www.dfoggknives.com/chungkuo_dagger.htm (1 of 2) [11/2/2003 2:10:32 PM]


Chung Kuo dagger. Blade is fifteen inch and forged from 1086, selectively hardened, with offset fuller 

grooves, copper habaki, Damascus guard and pommel and bloodwood handle. The spacers on handle are 

shakudo. This piece was designed and inspired by Craig Bird. 





http://www.dfoggknives.com/chungkuo_dagger.htm (2 of 2) [11/2/2003 2:10:32 PM]

Wuwei 

Wuwei, a 15 inch high carbon steel blade, selectively heat treated and polished to show hamon. Nickle 

silver habaki, Damascus fittings and nickle silver spacers. Ebony handle. The background of the photo is 

a shot of the hamon on this piece. This dagger will be on display and for sale at the East Coast Custom 

Knife show held at the Crowne Plaza hotel, Manhattan, New York City March 12-14th, 1999 

http://www.dfoggknives.com/wuwei.htm (1 of 2) [11/2/2003 2:10:33 PM]

Wuwei 

http://www.dfoggknives.com/wuwei.htm (2 of 2) [11/2/2003 2:10:33 PM] 

Home|Bookstore|Available|Feedback|DFogg

Shows 

I will be demonstrating at the following hammerins: 

2002 

ABS New York Blade Forging & Knife Exhibition 

26-29 Sept 2002 

Camp Schodack's Meadow Brook Lodge, Nassau, New York 

Contact: James Batson 256/971-6860 

Ocmulgee Blacksmith's Guild's 8th Annual Bladesmith's Hammer In 

October 5-6, 2002 

Shadyrest Forge, Buster Grubbs 

Macon, Georgia 

Contact Ed Halligan 770-251-7720 or Buster Grubbs 478-743-4244 

I will be attending: 

1st American Bladesmiths Exposition 

January 31-February 1&2, 2003 

Silver Legacy Hotel, Reno, Nevada 

Contact: Jay Hendrickson 301-663-6923 

http://www.dfoggknives.com/shows.htm [11/2/2003 2:10:33 PM] 

Home|Bookstore|Available| Email 



Revised: August 04, 2002.

Short sword 22 

Short sword 22" carbon steel blade, forged iron fittings, ebony handle. 

http://www.dfoggknives.com/Leafsword.htm [11/2/2003 2:10:35 PM] 





Celtic sword 

Celtic sword, carbon steel with hamon, fire blued iron fittings and wenge handle and scabbard. 

http://www.dfoggknives.com/celtic_sword.htm [11/2/2003 2:10:36 PM] 





Bird Dagger 

http://www.dfoggknives.com/bird.htm (1 of 2) [11/2/2003 2:10:37 PM]

Bird Dagger 

Dagger: Damascus dagger with 14" blade, Damascus fittings, gold inlay and 

carved ebony handle. This piece was exhibited as part of the ABANA conference 

1996 and at the National Ornamental Metals Museum in Memphis. 





http://www.dfoggknives.com/bird.htm (2 of 2) [11/2/2003 2:10:37 PM]


The first blade I made when I started forging was a sword and my interest has continued for over twenty 

years. The Japanese katana is the ultimate challenge for the bladesmith and I return to them consistently. 

While I have been known for my museum quality art knives, I have chosen to keep my katana functional 

and have tried to make the best sword I can and still keep them affordable. To do this, I have eliminated 

all aspects of the traditional sword that do not add to the function of the piece. 

You will not find fancy fittings, decorative menuki, ray skin, silk cord, and expensive polishing. While 

these are attractive and represent an art form in themselves, they only add cost to the sword. What I do 

make is a well balanced, properly heat treated, live blade that responds well in the hand and cuts. My 

swords are by no means unattractive, but there is a purpose to everything included in it. 

I use carbon steel for the blade and work with a variety of steels depending on the customer’s preferences 

and use. I also offer a laminated version made from folded and welded high carbon cable steels on 

request. The blades are hand forged to shape, ground and then heat treated in the traditional manner using 

a clay coating. This process yields a hard edge that is under compression and a soft back for toughness 

and durability. I offer the blades with a variety of finishes, the least expensive being a bead blasted or 

buffed finish. This provides a practical finish for cutting and is easy to maintain. I also offer a handrubbed 

finish. While this is not the traditional stone polish you will find on more expensive Japanese 

blades, it does reveal the hamon and is quite attractive. Polishing is one of the most expensive operations 

involved in building a katana and traditional polishes can run in excess of $150 per inch of length. 

Obviously a finish of this type would preclude anyone from using the sword and I have decided not to 

http://www.dfoggknives.com/katana.html (1 of 2) [11/2/2003 2:10:37 PM]


offer it in my swords. The maximum blade length that I offer at this time is 28 inches. 

The blade has a hand-fitted copper habaki, bronze seppa and forged iron tsuba. The handle is hard wood 

and is cord wrapped. The sword comes with a hardwood scabbard. The swords are made to be 

disassembled, but I have bedded the tang so that it will not loosen during use and do not recommend that 

it be taken down. 

My swords are meant for the martial artist who needs a real sword to cut with and has been dissatisfied 

with the museum replicas or does not want to use an antique for practice. If you want a more traditional 

treatment in your sword, I can recommend other makers who can provide this service. If you are looking 

for a real sword for a reasonable price however, I am confident that you will find no better buy 

anywhere. For more information about Japanese blades check out the bibliography. I have also written up 

the sword forging class at J.C. Campbell Folk School and it details the steps I taught in the class. 




Revised: August 02, 2002. 

http://www.dfoggknives.com/katana.html (2 of 2) [11/2/2003 2:10:37 PM]

Japanese library 

Japanese Sword Books 

The Japanese Sword, Kanzan Sato 

Japanese Arts Library 

A wonderful book that outlines the history and construction of the swords. It features many of the 

treasure blades in clear photographs. 

Japanese Swords, Nobuo Ogasawara translated by Don Kenny 

Hoikusha Publishing Co. 

This books comes in small handbook format, but has good photographs and is a handy guide 

The Arts of the Japanese Sword, B.W. Robinson 

Faber and Faber, London 

This book details the development of the sword and gives a brief history of the various schools that 

developed. It also features excellent photographs and useful appendices. 

The Craft of the Japanese Sword, Yoshindo Yoshihara 

Kodansha International, Tokyo and New York 

A detailed account of the craft and making of Japanese swords and fittings. This is an excellent book by 

one of the leading smiths in Japan. 

The Connoisseur's Book of Japanese Swords, Kokan Nagayama translated by Kenji Mishina 

Kodansha International 

A good guide to swords, detailing the history, schools of swordmaking with hand drawn plates showing 

different styles. Written for collectors, but also a good resource for makers. 

To purchase books on line check out my bookstore set up in association with Amazon.com 

http://www.dfoggknives.com/japanese.htm [11/2/2003 2:10:38 PM] 

Home|Bookstore|Available|Feedback|Swords 




Swords 

Dha-Chi, custom sword 


Home|Bookstore|Available|Feedback|Katana|Japanese Library|Sword Class 

http://www.dfoggknives.com/MartialArts.html [11/2/2003 2:10:39 PM] 




Dha-Chi 

Dha-Chi 

This is a powerful straight blade over 26" in length and 1.5" wide. It has been hand forged from 1095 and selectively heat treat. It shows nice 

activity in the hamon and has working polish that shows it off. The handle has a Japanese construction with a copper habaki, gold plated seppa 

and custom Damascus tsuba in carved relief. The handle is Laotian Flamewood with custom fushi kashira. The wrapping is a braided cord 

style. It comes with a stand and no saya. This is a totally custom sword and a major piece. 

For details of the blade go to the Dha gallery For details of the Tsuba construction go to Tsuba Gallery There are also galleries on the making 

of the Shitodome and on Tying the Knot 

http://www.dfoggknives.com/dhachi.htm (1 of 2) [11/2/2003 2:10:40 PM]

Dha-Chi 

http://www.dfoggknives.com/dhachi.htm (2 of 2) [11/2/2003 2:10:40 PM] 






Making Tsuba for Dha 

1/15/2003 

Don Fogg Knives 

Dhatsuba.jpg Dhatsuba1.jpg Dhatsuba2.jpg Dhatsuba3.jpg Dhatsuba4.jpg Dhatsuba5.jpg 

http://www.dfoggknives.com/photogallery/Dhatsuba/index.htm [11/2/2003 2:10:42 PM]

Dhatsuba 


1/15/2003 


http://www.dfoggknives.com/photogallery/Dhatsuba/pages/Dhatsuba.htm [11/2/2003 2:10:42 PM]

Dhatsuba1 


1/15/2003 


First you must make sure that the tang tapers in all directions from the habaki. This should have been 

done when the habaki was made, but worth repeating. 

http://www.dfoggknives.com/photogallery/Dhatsuba/pages/Dhatsuba1.htm [11/2/2003 2:10:43 PM]

Dhatsuba2 


1/15/2003 


Carefully file the hole for the tang. Try fit often as you approach final fit. 


Dhatsuba3 


1/15/2003 


The profile of the tsuba is cut out with bandsaw and filed to shape. The internal spaces are drilled and 

filed with the finest lines cut in using a jeweler's saw. 


Dhatsuba4 


1/15/2003 


I had to make a tool to sand the interior spaces. This was made from an old hack saw blade. It worked 

well because it was thin, flexible and flat. I shaped the ends so I could get into other areas with the same 

tool. 


Dhatsuba5 


1/15/2003 


Unfortunately, I didn't take pictures of all the steps in the making of this piece. The background was 

roughed out using a Taig milling machine and then the lines were cleaned up with a flex shaft and burrs. 

The tooling marks were taken out using boride polishing stones. The finished piece was etched and 

colored. 



DFogg Dha 

12/26/2002 

www.dfoggknives.com 

DhaSeriesCenter.jpg DhaSeriesTang.jpg DhaSeriesTip.jpg DhaTip640.jpg DhaTipR640.jpg 

http://www.dfoggknives.com/Dha/DhaSeries.htm [11/2/2003 2:10:48 PM]

DhaSeriesCenter 

DFogg Dha 

12/26/2002 

http://www.dfoggknives.com/Dha/pages/DhaSeriesCenter.htm [11/2/2003 2:10:49 PM]

DhaSeriesTang 

DFogg Dha 

12/26/2002 

http://www.dfoggknives.com/Dha/pages/DhaSeriesTang.htm [11/2/2003 2:10:50 PM]

DhaSeriesTip 

DFogg Dha 

12/26/2002 

http://www.dfoggknives.com/Dha/pages/DhaSeriesTip.htm [11/2/2003 2:10:51 PM]

DhaTip640 

DFogg Dha 

12/26/2002 

http://www.dfoggknives.com/Dha/pages/DhaTip640.htm [11/2/2003 2:10:52 PM]

DhaTipR640 

DFogg Dha 

12/26/2002 

http://www.dfoggknives.com/Dha/pages/DhaTipR640.htm [11/2/2003 2:10:53 PM]


Making Shitodomi 

1/15/2003 


Shitodomi are the inserts in the butt cap/ kashira that protect the cord from fraying. 

Dhatsukamaki1.jpg Shitodomi0.jpg Shitodomi1.jpg Shitodomi2.jpg Shitodomi3.jpg Shitodomi4.jpg Shitodomi5.jpg 

http://www.dfoggknives.com/photogallery/Shitodomi/index.htm [11/2/2003 2:10:55 PM]

Dhatsukamaki1 


1/15/2003 


Shitodomi are the inserts in the butt cap/ kashira that protect the cord from fraying. 

http://www.dfoggknives.com/photogallery/Shitodomi/pages/Dhatsukamaki1.htm [11/2/2003 2:10:55 PM]

Shitodomi0 


1/15/2003 


Cut your material into strips and make a right angle bend to form the lip. I am using a filing jig for this. 

http://www.dfoggknives.com/photogallery/Shitodomi/pages/Shitodomi0.htm [11/2/2003 2:10:56 PM]

Shitodomi1 


1/15/2003 


This is the strip with the angle bend. 


Shitodomi2 


1/15/2003 


Using a mandrel the size of the hole in the kashira, bend the strip around and mark the length. Cut off the 

excess with a jeweler's saw and file flush. 


Shitodomi3 


1/15/2003 


You need to have a good fit, this one needs to be straightened and tightened on the mandrel. When it fits, 

silver solder the joint. 


Shitodomi4 


1/15/2003 


I made a hole in the mandrel the size of the hole in the kashira and it allows me to final shape and finish 

the ends. The lenght can be trimmed by cutting off the excess while it is in the mandrel. 


Shitodomi5 


1/15/2003 


Here is the mandrel with the rough shitodomi. After they are finished, they can be plated and installed. 



Making the Knot 

1/15/2003 


Tying the knot at the end of the wrap involves slipping the cord under the wrapping. There is a trick that 

I picked up from a Japanese video that aids in this. 

http://www.dfoggknives.com/photogallery/Knot/index.htm (1 of 2) [11/2/2003 2:11:02 PM]


Dhatsukamaki1.jpg Dhatsukamaki3.jpg Dhatsukamaki4.jpg Dhatsukamaki5.jpg 

http://www.dfoggknives.com/photogallery/Knot/index.htm (2 of 2) [11/2/2003 2:11:02 PM]

Dhatsukamaki1 


1/15/2003 


Tying the knot at the end of the wrap involves slipping the cord under the wrapping. There is a trick that 

I picked up from a Japanese video that aids in this. 

http://www.dfoggknives.com/photogallery/Knot/pages/Dhatsukamaki1.htm [11/2/2003 2:11:03 PM]

Dhatsukamaki3 


1/15/2003 


First you slide a piece of either exposed film or in this case, a piece of shim stock, under the wrapping. I 

usually go under the last two folds and tuck the left over out of the way. 


Dhatsukamaki4 


1/15/2003 


Next take two more pieces of shin stock and slide them under the wrapping. Insert the cord between the 

pieces and using it as a pincher push/pull the cord through. 


Dhatsukamaki5 


1/15/2003 


You can see the cord that has been pulled through in this image. This will help with the process of 

making the knot and is a much better method than trying to tie it with the wrap loose or than by pushing 

the cord. Pushing can damage the fittings and handle. 


http://www.dfoggknives.com/sword.htm 

Sword Forging Class 

It was not without some trials and errors along the way. First, I had chosen 1050 medium carbon steel for 

the stock to work with and I was not that familiar with it. There are some good reasons for this choice of 

steel, first being that it has a TTT of about 3/4 of a second to get below the nose of the curve and 

therefore is very responsive to the clay coating applied to the back of the blade. In my earlier test blades, 

I was able to get a clear and dramatic hamon, but was not really happy with the softness of the back. If 

not properly hardened, the blades bent too easily, but I began the trip hoping to find the right 

combination to overcome that handicap. Another clear advantage of this steel was that it would stop an 

edge crack from propagating through the hamon and made the blade virtually indestructible. 

Swords have a unique set of requirements and the right choice of steel must take these into account. In 

use the edge of the sword is likely to get chipped. Because the edge is under tension, once the integrity of 

the edge is broken, it will break quite easily. This can be demonstrated by chipping the edge with another 

piece of hardened steel and then striking the spine of the blade over the anvil. In my test pieces, 1050 

would stop the crack and despite numerous hard blows to the spine the crack would travel no further than 

the hamon. I was also able to place the blade in a vise and bend it 90 degrees at the crack and back 

without it breaking. This showed me that the steel was capable of withstanding actual conditions. 

Another requirement is that the edge be hard enough to cut through tissue, bone and even metal without 

chipping. Edge holding is not as important as it would be in a using knife, but if the edge is too soft it 

will not cut cleanly. Again my tests showed that the steel would get hard enough to perform well. I do 

not have a Rockwell tester, but from looking at the charts and by checking with a file, I estimated that it 

would fall into the 58-60 RC range. 

Prior to the class, Chuck and I made several test blades attempting to solve the soft back problem. We 

converted one blade to banite and it would support the weight of two men, over six hundred pounds, 

without breaking, but we were unable to subsequently reharden the edge without softening the back too 

much again and it this condition it would not stop the fracture. 

We also tried several methods of flash quenching in water, interrupted quenches, but still ended up with 

soft pearlite structure in the back. Finally we reduced the thickness of the clay to a minimum and 

quenched in water until all color had left the spine of the blade. This produced a hard edge and tough 

back, making a mix of pearlite and martensite in the area under the clay. 

http://www.dfoggknives.com/sword.htm (1 of 4) [11/2/2003 2:11:07 PM]


D. Fogg 

The Class 

Chuck Patrick 

(click image) 

We had twelve students with twelve forges going at once. The shop was a converted milking parlor 

comprising one long open room with the forges going down each side and steel layout tables in the 

center. Each station had a coal forge, anvil, and post vise. There were a few gas forges available, but 

most of the students worked with the coal. When all the fires were lit and the hammers were beating on 

metal, it was a factory. 

Forging swords 

I demonstrated first, showing how to shape the point and begin the bevels. My technique involves 

working with a heavy hammer, minimum four pounds and preferably larger, and constraining motions by 

locking the hammer arm to the side and striking with the forearm and not wrist. Also the arm holding the 

work is locked into the side also and the piece is moved by rotating the hips. The hammer face should 

strike in the same spot and the work moved. Attention has to be paid to the height of the work piece so 

that it is flat on the anvil and the handle is not tipped up or down creating a bend in the blade which will 

later have to be straightened. In the manner of the Japanese, I like to wet forge. Wet forging is simply 

keeping the anvil face and hammer covered with water while forging. The water does not cool the blade 

but helps to blow off the scale and keep it from being beaten into the hot metal. Scale is uncompressible 

compared to hot metal and will leave craters in the finished work that can be a problem. I also like to 

keep the scaling down by working in a rich fire and at lower heats. 

Forging steel is the beginning of the heat treating process and as much care should be given to the 



temperature of the steel as is given the actual forging. I like to progressively reduce my forging 

temperatures until in the finish forging I am working just above and below critical. I feel this goes a long 

way to refining the grain of the steel. Care must be taken not to drop too cold or stresses can be built into 

the steel and so you should cycle right around critical. 

I like to work in small sections, beginning at the point and then forging the bevels by laying the unforged 

steel on the anvil and forging into the already forged section. If you try to forge from the already beveled 

area to the unforged area, the thicker unforged section will curve the blade every time and create 

problems. It is helpful to straighten and true the blade before it returns to the fire so that you don't end up 

chasing your lines and can start from a good straight line. 

A common mistake is to fail to set the angle on the bevel by raising the bar up from the anvil. You have 

to set the angle otherwise the bevel will be establish on the hammered side and remain flat on the reverse. 

I found it helpful to work to your weak side first, setting the bevel and then switching sides. I need to 

make a sketch of this, but will have to add it later. 

The forging proceeds down the blade in three or four inch segments, taking care to watch the lines and 

true everything up as you go. I do not attempt to forge to the final edge at this time, but rather want to 

establish the bevels and profile for the blade. It is important to forge equally on both sides. If you fail to 

do it, the blade will begin to twist because you are drawing more on one side than the other. Also, by 

forging equally on both sides balance the stresses on the blade. 

Another common problem encountered is keep the blade from curving radically. The old adage about 

never beating on the edge is foolishness. You can beat on the edge without creating problems, but 

obviously you have to correct for any upsetting. I use the length of the anvil to take the curve out of the 

blade laying the section that is curving on the anvil and lightly tapping it back straight. When the edge is 

thinner, I use a wooden or rawhide mallet and a wooden block so I won't mar the blade or edge. 

When you approach the tang end of the blade it is time to reverse your grip, you will know when it is 

time because it is too hot to handle comfortably. It is difficult to continue the bevel line from the forged 

section without running into the problem of the thicker section curving the thinner beveled area, at least 

for me, so I begin at the far end by forging the tang. On the katana, the bevel is just and extension of the 

blade bevel. The only consideration with the tang area is that it be tapered in all directions to the area 

where the fittings will seat to the blade. I don't go to great pains to set the notches just rough them in, but 

I do spend a considerable amount of time shaping the tang. The tang takes a lot of stress since it is 

fulcrum point for the blade and it is wise to make it as strong as possible and forging to shape is the best 

start. 

Working back from the tang, forge into the blade and join the previously forged area. I like to let the 

blade cool at this point so I can handle it comfortably and look at it from all angles. It is amazing how 

different steel looks when it is cold from when it is hot. This will give you the opportunity to see where 

you need to work and to plan you finish forging. 



When I begin to final forge the blade, I use the same hammer, but use lighter blows. I am looking to 

bring the metal down to the edge, straighten all the lines, crisp up the bevel lines and remove any 

hammer blemishes from the rough forging. It is slow and careful work, but will greatly shorten the 

finishing time when the blade is cold. The final shape of the blade is straight. The curve will be 

established during the hardening process. 

As a final step to the forging process, I cycle the whole blade from critical temperature to below 1000F 

for at least three times in the air. This thermal cycling will reduce the stresses in the blade and help to 

further refine the grain structure before hardening. I do not anneal my steels and if they need to be further 

softened I will heat the blade to 1300F and hold for a long soak. 

Handwork 






http://www.dfoggknives.com/handwork.htm 

Handwork 

Since there were no real grinders at the Folk School, I decided that we would make these blades by hand. 

This was quite a shock to the full time makers who were attached to their belt sanders and to the new 

comers who hadn't done much hand work before, but it was also a good learning experience and I felt 

essential to really understanding the swords. Too often we rush out to buy power equipment to do a job 

missing some of the basics of the craft in the process. I began making Damascus by hand with a hand 

hammer and continued for several years until I could no longer keep up with the work. This gave me a 

feel for the steel and the process and also made me appreciate the final product. Damascus has never 

been bar stock for me, it remains special and it feel it is because of this early start. 

Making and using a sen or scraper 

I had requested that the students bring files, stones and paper to the classes, but we took Tuesday 

morning to forge out some Japanese style scrapers called sens to use for the stock removal. The sen is 

very similar to a draw knife used for wood. The blade has two handles or tangs extending from a flat 

center cutting area. The best cutting tools are flat ground on one face and have two cutting edges front 

and back. The bevel is quite acute to the edge, but is concave for strength. They are meant to be used 

sharp and work with either a push or pull stroke. We made ours up out of leaf spring and oil hardened 

them, drawing for 1/2 hr at 325F to take the curse off the hardening. Most of the ones we made worked 

quite well, some better than others, but I think that all who gave them a fair try, found it to be a much fast 

way of getting the stock off and the flats set than by filing. 

http://www.dfoggknives.com/handwork.htm (1 of 3) [11/2/2003 2:11:08 PM]


Before using the sen or files, we knocked off the scale with rough stones. I had found some cheap oil 

stones at a flea market and they worked fine. Knocking the scale off revealed the hammer imperfections 

and bevel lines. Once most of the scale was removed, we turned to the scrapers. It is a bit difficult to get 

them started since they need to establish their own bite before they really start cutting the metal. I have 

pulled a shaving off a katana three inches long with my sen and end up with a pile on the floor when I am 

finished shaping the blade. I brought my sen to class and it had sharpened two katana and a tanto before 

requiring anything more than a light touch up. 

Final shaping of a sword with hand tools is hard 

work. I have to work through my impatience and 

settle into the rhythm of the tools before I can 

appreciate the process. It is very peaceful and 

satisfying not to have a motor running every time 

you work. I find going back to power tools 

stressful after a time of working only with hand 

tools. Because the pace is slower, you also get a 

chance to thinking about what you are making, 

anticipating problems and developing a 

connection with the piece instead of simply 

producing it. 

Often new knifemakers jump into the craft 

without ever having made a knife from scratch. I think this is skipping an important learning phase and 

doesn't teach respect for what they are doing. The connection with the past and with a time not so caught 

up in the frenetic pace of today's life that was appealing to me when I first started forging and I am glad 

that I was able to experience and appreciate it. 

Files 

The scraper sets the lines of the blade and prepares us for the files. Going to the files we begin to refine 

the blade. At first the file takes the tops off the scraper cuts, but soon it is into the meat of the steel. I like 

to use a draw filing motion that is not in the books. I hold the file in both hands and push/pull it at right 

angles to the work. While this may seem contrary to the way a file was designed to cut, it produces a 

smooth flat finish and rarely galls. I also use light strokes and do not bear down as hard as I did with the 

scraper. I begin with a bastard mill file, though if a lot of material needs to be removed I sometimes use a 

magic cut file. After the bastard mill file you can go to a smooth file and this will save you time when 

you transition to stones. 

After, the lines have been set and are crisp, I begin to work the flat of the bevel to the edge. It is helpful 

to sight along the edge and find the center line. Cutting a mini-bevel to establish the center line will give 

you a guide when you begin cutting to it along the flat of the blade. This is a common practice when 

grinding a blade and it works well with hand tools too. 



I should mention at this time about how to secure 

the blade while working on it. In my shop, I have 

made a sturdy and functional tool for holding 

long blades. It is made from a drill press vise to 

which I have welded a 1" angle iron roughly 24 

inches long. The vise is located in approximately 

6" from one end and the angle is welded using 

nickel rod for the cast iron and welded to the 

inside base and fixed jaw. I pad the surface of the 

angle with thin leather and pad the top, moveable 

vise jaw with neoprene. When I am working, I 

clamp this tool in my bench vise. Using a vise in 

a vise is very versatile, sort of vise versa. Sorry. 

Anyway, you can then clamp the blade securely 

while you are working on it. A bit about vise 

safety. A blade clamped in the vise should have 

the edge and point behind the back up support. It 

is very dangerous and can hurt you badly. Whenever I leave the work piece, I remove the blade from the 

vise, every time. For the class at J.C. Campbell, we used 2x4's held in the post vise clamping the blades 

down with c clamps. 

Finishing 






Finishing 

Stones 

Finishing 

After the blades were hardened, we began to polish with stones. For this I recommended using red brick 

EDM polishing stones in 120,220,320,600 grits. I buy my stones from Manhattan Supply Company. 

These stones are designed for tool and die makers to clean up molds and dies. They are a synthetic stone 

and quite soft, but they cut well and are very useful for cleaning up and polishing blades. I use then on all 

my blades and find they are especially useful for cleaning up the transition radius between the flats and 

ricasso on western style knife grinds. With price of sheet abrasive going through the roof, stones are a 

fine alternative. The stones wear more evenly and cut best when used with a light touch. I add a synthetic 

grinding fluid to the water to keep them from loading. I first heard about these stones from Steve Hoel, a 

superb folder maker. Steve stones and hand finishes all his blades and achieves amazing tolerances in his 

folders. Our objective with the stones is to polish out the file scratches, moving from the coarser grits to 

the final polish. 

When polishing with either stones or paper, it is best to work at a 45 degree angle to the blade and 

reverse the direction with each change of grit. By polishing at different angles you can see the previous 

scratches and insure that all of them are removed before moving on. I also like to reverse the direction of 

sanding from the bevel and the back so I can clearly see my lines. It is sometimes hard to see all the 

scratches and I recommend working in a good light. I have a combination of natural light coming from a 

http://www.dfoggknives.com/finishing.htm (1 of 3) [11/2/2003 2:11:09 PM]

Finishing 

window by my bench, indirect light provided by florescent lights and a direct light source that can be 

move to different angles so that you can see the blade in all aspects. It is amazing how those scratches 

can hide in the light and one thing you can be sure of is that they will never go away if you miss them. 

After I have set down a good 320 grit polish with the stones, I will switch to Japanese style water stones. 

I am not a sword polisher and can not justify the expensive natural stones a professional polisher uses, 

but am quite satisfied with the synthetic stones now commonly found in woodworkers supply catalogs. 

They also come in a variety of grits, but I use only the 400 and 800 grit. These stones need to be soaked 

in water before they are ready to use. I prefer to use distilled water and recommend adding a bit of 

baking soda to the water to help prevent rusting. I also have found it helpful to buy some plastic trays and 

keep each stone in its own tray. This helps prevent contamination by grits from the coarser stones. 

The water stones are usually quite large 3x6x1 inches and I have found that they are more easily handled 

and that I can get more life from them if I cut them to smaller sizes using a masonry blade in my saw. 

The water stones cut very differently than the EDM stones. You will notice the hardened and unhardened 

portions of the blade pop out when you begin using these stones. Still alternating the direction of the 

strokes for each grit, I get a good 800 grit polish over the entire surface of the blade. These stones wear 

quickly and care must be taken to keep them flat so that they won't wash out the bevel lines. Also, the 

motion with these stones is to the edge, rounding in to sharpen as you polish. Be very careful not to slip 

or you will christen the blade with blood. 

Wet or dry paper 

After the final water stone is finished, I switch to 600 grit wet or dry paper, wet and sand length wise on 

the blade. I cut the sheets into inch or so wide strips and pinch them over a sanding block of hard flat 

material. I like Corian blocks because they are not bothered by the water and are flat and thick enough to 

get your fingers on. I make my sanding blocks 1 inch wide and around four inches long. The paper is 

used wet with considerable force and the paper is rotated frequently as it begins to lose its cutting action. 

During this process the edge will begin to polish brighter than the softer back and you should continue to 

polish until all the scratches have been removed and the back is beginning to shine. While this process 

may seem to take forever the first time you attempt it, it gets much faster with practice. 

At this point a light etch will really help pop out the temperline. I use a very dilute wash of ferric chloride 

, Archer etchant from Radio Shack, cut 2 to 1 with distilled water. I soak a portion of paper towel and rub 

it briskly over the entire blade. I am not trying to etch the blade as much as bring out the temperline. You 

have to acquire a touch with the ferric so that you don't darken some areas more than others, but it doesn't 

take long to figure out and can really make the temperline jump. When you are satisfied with the etch, 

rinse the blade and neutralize the ferric with a spray of ammonia. You can tell the ammonia is working 

by the blue green colors it turns up. Rinse again and dry the blade thoroughly. 

The next step is 1500 grit wet or dry paper. I get these papers from my local auto parts store, but they are 

readily available. Again using this paper wet, go length wise over the entire blade paying more attention 


Finishing 

the area above the temperline than below. This will bring the back of the blade into high polish. If you 

wipe out the temperline redo with the ferric and repolish. 

Paste polish 

The final step is to go over the back of the blade with a fine paste polish. Some folks use rubbing 

compound on a cloth, but I like to use Simichrome a chrome polish found in most motorcycle shops or 

through mail order knife supply catalogs. Continue with the paste until the back of the blade is dark and 

all the 1500 grit scratches are wiped out. You can go over the hardened portion, but only lightly to 

remove the oxides from the etch. A popular finish on the Japanese blades shows a frosted edge, bright 

hamon and darkly polished back. You can approach this look with careful use of the paste polishes. 

Another polish used to darken the back of the blade can be made by using red rough buffing compound 

and light oil. 

Inspection 

Now is the time to look over your work. Carefully inspect the blade for areas that need work. It is helpful 

to look at the blade in full light and also indirect light, tipping the blade so that the hamon is clearly 

visible and so that you can inspect the surface from every angle. If you find an area that needs work go 

back to it until it is right. 

This blade finish is quite attractive, easy to maintain and a lot less expensive than a traditional polish. 

While nothing can duplicate the incredible view into the metal that a well done traditional polish reveals, 

this method is attainable by anyone with simple tools and the willingness to work. 






Using 

Gentlemen's 

Knives Bowies and 

Fighters 

Tactical Utilities 

Shivs 

Damascus Using 

The category of using knives is intended to cover all blades that are designed for function first. I do not offer a model line 

of knives as such and chose to make each piece individually, one at a time, so there will be variations from one knife to the 

next. What I am showing on these pages are examples that demonstrate the options in finish, configuration and price. All 

blades are hand forged, individually heat treated and given equal care. Every knife I make reflects my commitment to 

produce the finest knife I am capable of making. 

http://www.dfoggknives.com/using.htm [11/2/2003 2:11:10 PM] 




Revised: February 08, 2002.

Gentlemen'sKnives 

Click pictures for large images 

Gentlemen's Knives 

This is a series of knives that are simple, elegant, and refined. They have been forged from high carbon steel round stock and do 

not have the look or feel of bar stock knives. They are light in the hand yet strong, with a distal taper from 1/2 inch at the ferrule 

to a fine point. These are handmade knives and they show the quality that only truly handmade knives possess. 

I am not taking orders for these knives, but I enjoy making them and they will be offered when they are available through my web 

site. If you would like to receive email notice when new knives are posted please send me an Email with your name and email 

address. 





http://www.dfoggknives.com/Gentlemen's%20Knives.htm [11/2/2003 2:11:11 PM]

Bloodwood Gent 

Bloodwood Gent 

This knife is forged from 1095 and selectively hardened. It has a turned ferrule and a bloodwood handle 

with brass spacer. The blade is marked with my 24k gold cherry blossom on the handle. It is a very light 

and quick blade measuring 5.75 in and 10.25 in overall. It tapers from just over 3/8ths at the ferrule and is 

well balanced. 

Back 




Revised: February 08, 2002. 

http://www.dfoggknives.com/bloodwood_gent.htm [11/2/2003 2:11:13 PM]

OssikGent 

http://www.dfoggknives.com/OssikGent.htm (1 of 2) [11/2/2003 2:11:14 PM]

OssikGent 

Fossil ossik bone handle with nickel silver spacer. This is blade has been hand forged from high carbon 

steel, five inch blade and 9.75 inches overall. The blade has been selectively heat treated and hand 

finished. It has a unique double ring ferrule and is marked on the handle with my 24k gold cherry blossom 

logo. 

Back 





http://www.dfoggknives.com/OssikGent.htm (2 of 2) [11/2/2003 2:11:14 PM]

Mimosa Gent 

Mimosa Gent 

Hand forged from 1095 high carbon steel, this blade features a ferrule like transition to the handle. It is 

10.75" overall and has a blade length of 5.5" to the ferrule. The spacer is brass and the handle is 

stabilized mimosa burl. It is pinned and marked with my 24k gold cherry blossom on the handle. 

This is a strong, very light knife that tapers from over 3/8ths inch at the ferrule quickly to the tip. I like 

this style of knife for its classic lines and because it does not have a bar stock look or feel to it. It would 

make a good utility knife or very elegant desk display. 

Back 



http://www.dfoggknives.com/mimosa_gent.htm (1 of 2) [11/2/2003 2:11:16 PM]

Mimosa Gent 


Revised: February 10, 2002. 

http://www.dfoggknives.com/mimosa_gent.htm (2 of 2) [11/2/2003 2:11:16 PM]

BirchGent 

Birch burl handle stabilized, nickel guard set off this hand forged Gentleman's hunter. The blade is hand forged 

high carbon steel, 5 inches to the ferrule and 9.5 inches overall. The blade has been selectively hardened and has 

a fine hand rubbed finish. Filed ferrule transition to the handle. The blade is marked on the handle with my 24k 

gold cherry blossom. I am offering this knife with leather sheath for $650. If you are interested send me an email 

The knife will be sold on a first come, first serve basis. I accept PayPal and money orders. February 8, 2002 

SOLD 

http://www.dfoggknives.com/BirchGent.htm [11/2/2003 2:11:17 PM] 

Back 





Bowie 

Bowie knives are an American knife. Popularized by Jim Bowie and the 

legendary sandbar fight, the actual shape and size of the Bowie is a matter of 

dispute. There are several styles that are accepted as a Bowie style knife. I have 

included photos of my favorite designs. 

#1 Damascus Bowie: Spirit pattern Damascus blade 9", fire blued iron fittings, 

gold wire inlay, burled wood handle. 

http://www.dfoggknives.com/bowie.htm (1 of 3) [11/2/2003 2:11:19 PM]

Bowie 

#2 Carbon Steel Bowie: Hand finished carbon steel blade 7", fire blued steel fittings, bronze 

accents, wenge wood handle. 


Bowie 

#3 Texture Spear Point Bowie: Forged texture carbon steel blade 8", fire blued 

iron fittings, bronze accents, wenge handle. 

Stag Bowie | Blue Bowie 







#1 Tanto style carbon steel blade with textured flats, bronze bolster and pins, rosewood burl handle 

scales. 

The blade length is 4" and overall is 8". It has been hand polished to show the temperline. 

#2 Cord wrapped tanto style carbon steel blade. Clay coat hardened and hand polished to show the 

temperline. It comes with a kydex sheath. Blade length 5" overall 9+". 

http://www.dfoggknives.com/tacticalutilities.htm (1 of 2) [11/2/2003 2:11:20 PM]


#3 Cord wrapped curved tanto style. Clay coat hardened and hand polished to show the temperline. It 

comes with a kydex sheath. Blade length 5" overall 9+". 

#4 Cord wrapped tanto style. Clay coat hardened and hand polished. Kydex sheath. 7-8 inch blade 12 

overall. 

This style of knife is very popular right now and I offer a wide range of blade shapes and styles. I have 

created a new grouping of knives that I am calling Shivs where the emphasis is on a well forged, carbon 

steel blade with temperline. To see examples go to: 

Shivs 





http://www.dfoggknives.com/tacticalutilities.htm (2 of 2) [11/2/2003 2:11:20 PM]

Shivs 

Shivs 

This is a series of knives that follow a theme of blade shape, heat treatment and handle style. Each is unique since there are no 

patterns involved. They have been forged from 3/4 inch round 1095 high carbon steel and hardened using a clay coating on the 

spine. 

Shivs are pure blade oriented pieces. The cord wrapped handles are functional, non-slip grips, but the real focus of these knives is 

in the blade. I intend to offer a wide range of shapes and styles. Click on the thumbnail to see large illustrations of these knives. 

They will be sold when they are available via my web site. If you would like to be notified via email when I have knives for sale 

please send me an email via the Available form. Thanks. 

http://www.dfoggknives.com/shivs.htm [11/2/2003 2:11:21 PM] 

Bamboo Shivs 

Shiv Gallery 





GidgeeShiv 

Gidgee wood scales under wraps, this hand forged integral has a nicely tapered blade with temperline. 

http://www.dfoggknives.com/GidgeeShiv.htm [11/2/2003 2:11:22 PM] 





Shiv Dagger 

Shiv dagger hand forged from 1095, selectively heat treated. The blade is 5", 10" overall and is 3/8ths of and inch 

thick at the thickest point. The handle is cord wrapped with a under wrapping of cord. It has a solid pommel that is 

slightly pointed. 

Shank 





http://www.dfoggknives.com/shivdag.htm (1 of 2) [11/2/2003 2:11:23 PM]


http://www.dfoggknives.com/shivdag.htm (2 of 2) [11/2/2003 2:11:23 PM]

Shank 

Shank 

Double edged boot dagger hand forged from 1095 high carbon steel and selectively hardened and polished to 

show hamon. The overall length of the knife is 8.75" with a blade length to the cord of 5". The handle is cord 

wrapped and then over wrapped with black lacing. The blade is marked with my 24k gold cherry blosson logo. I 

am asking $350 for the knife as is or $400 with utility sheath. Shipping and insurance $15 anywhere CONUS. If 

you are interested please EMAIL me. Thanks. 

http://www.dfoggknives.com/shank.htm [11/2/2003 2:11:25 PM] 

Sold 




New Page 1 

Shiv 

Hand forged from 1095 high carbon steel, selectively heat treated, cord wrapped handle with ray skin underlay. 

The blade is 5 inches and 10 inches overall, 3/4 inch at widest. Very pointy and sharp, this is a well balanced 

knife and comes with a leather sheath. The photo is a composite showing both sides and top view. The blade is 

unsigned and will come with a letter for provenance. 

If you would like to receive email notice when knives are made available, please contact me via the Available 

form and let me know you are interested. Thank you. 

http://www.dfoggknives.com/Shiv.htm (1 of 2) [11/2/2003 2:11:26 PM] 

Bamboo Shiv 

Home|Bookstore|Available|Feedback|Back

New Page 1 

http://www.dfoggknives.com/Shiv.htm (2 of 2) [11/2/2003 2:11:26 PM] 




Bamboo Shiv 

Bamboo Shiv 

Shiv forged from 1095, selectively heat treated and polished to show hamon. Handle scales are flamed bamboo 

with an over wrapping. The blade is marked with a 24k gold cherry blossom under handle wrapping. 

http://www.dfoggknives.com/bamboo_shiv.htm [11/2/2003 2:11:28 PM] 







Another in the Shiv series. The blade has been hand forged from 1095 1/2" round high carbon steel and 

selectively heat treated. The blade is 4", 8.5" overall. The handle scales are flamed bamboo with a cord over 

wrap. My 24k gold cherry blossom is mounted on the handle under the wrapping. It comes with a cord wrapped, 

wet formed leather sheath. 





http://www.dfoggknives.com/BambooDagger.htm [11/2/2003 2:11:29 PM]

Bamboo II 

Bamboo Shiv 

Blade is hand forged from 1095 high carbon steel and selectively heat treated to show a nice hamon. The blade is 

4.25 inches to the ricasso and 9 inches overall, 7/8ths inches at the widest point. The handle scales are flamed 

bamboo with a tan cord over wrapping. The knife is marked with a 24k gold cherry blossom under the wrapping. 

It comes with a wet formed leather scabbard that has been wrapped. 

http://www.dfoggknives.com/bambooshiv2.htm [11/2/2003 2:11:30 PM] 






#1 Damascus hunting set: Damascus spear point Bowie 9" blade, drop point hunter 4" blade, trout and 

bird 4" blade, miniature by Paula Easler, all with wrought iron fittings, gold accents, blue fossil walrus 

tusk handles. This set was commissioned and the handles were taken from one rare blue fossil ivory 

walrus tusk, very rare coloring. Photo by Weyer. 

#2 Drop point hunter: Damascus blade 4", Damascus bolster and pins, gold accents, fossil ossik scales. 

http://www.dfoggknives.com/damhunt.htm (1 of 2) [11/2/2003 2:11:32 PM]


#3 Drop point hunter: Damascus blade 3.4", Damascus bolster and pins, gold accents, sambar stag 

scales. 





http://www.dfoggknives.com/damhunt.htm (2 of 2) [11/2/2003 2:11:32 PM]

Curious 

The pieces on this page are links to work that I like, but doesn't fall into any neat category. Follow the links 

http://www.dfoggknives.com/curious.htm [11/2/2003 2:11:33 PM] 

for larger images.

Damascus Steel - FPGA-FAQ

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