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http://www.dfoggknives.com/damascus.htm<br />

<strong>Damascus</strong> <strong>Steel</strong><br />

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

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

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

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

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

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

product called tamahagane produced swords of exceptional quality and beauty. An excellent reference<br />

for the background history of <strong>Damascus</strong> is found in A Search for Structure, by Dr. Cyril Stanley Smith,<br />

MIT Press.<br />

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

was not rediscovered in this country until the 1970's. Bill Moran introduced the first <strong>Damascus</strong> blade to<br />

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

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

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

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

1976 by Crown Publishers, Inc.<br />

This book featured the work of Bill Moran, Robbin Hudson and the "<strong>Damascus</strong> research team" of Daryl<br />

Meier, Jim Wallace, present curator of the National Ornamental Metals Museum in Memphis, Tennessee,<br />

and Robert Griffith. The chapter on <strong>Damascus</strong> steel provided a starting point for working with this steel<br />

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and inspired me and many others to begin working with it. My first lesson on making <strong>Damascus</strong> came<br />

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

billet and we were off.<br />

Pattern Development<br />

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

basic categories.<br />

Straight laminated billets<br />

"W's Pattern" Don Fogg<br />

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

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

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

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

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

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

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

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

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

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

on welding up thin stock billets click hyperlink to Shop Tips<br />

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

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

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

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

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

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

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

height during the hey day of the <strong>Damascus</strong> shotguns. These guns represent some truly incredible<br />

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

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

whenever it is cut into.<br />

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

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

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

common incised pattern is the ladder pattern distinguished by tightly space rungs or bands running across<br />

the width of the blade.<br />

Straight layer billets may be patterned by using any number of<br />

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

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

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<br />

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

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

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

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

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

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

the billet. The possibilities are endless.<br />

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http://www.dfoggknives.com/damascus.htm<br />

Robbin Hudson<br />

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

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

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

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

maybe done with a hot cutter or by cutting on a bandsaw.<br />

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

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

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

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

the effects can be quite interesting.<br />

Mosaics | Forge Welding | Etching | Contrasting <strong>Steel</strong>s<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: April 04, 2002.<br />

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History<br />

Knifemaker's Bookstore<br />

History<br />

Bookstore | Afterhours | History | Metaphysical | Metalworking | Music to Forge By | Home<br />

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

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

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

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

will enjoy them.<br />

The Archaeology of Weapons : Arms and Armour from Prehistory to the<br />

Age of Chivalry by R Ewart Oakeshott<br />

The Book of the Sword by Richard Francis Burton A classic.<br />

Glossary of the Construction, Decoration and Use of Arms and Armor in All<br />

Countries and in All Times : Together With Some Closely Related Subjects<br />

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

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

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

through my second.<br />

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History<br />

Three Roads to the Alamo : The Lives and Fortunes of David<br />

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

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

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

and documented book that reads like a good story.<br />

Greece and Rome at War by Peter Connolly Excellent book covering the<br />

weapons, armor and tactics of that era. Very useful books for edge weapons development.<br />

A Search for Structure : Selected Essays on Science, Art, and History by Cyril<br />

Stanley Smith<br />

Wonderful reference with articles on <strong>Damascus</strong> and a perspective that keeps me coming back to it for<br />

rereading.<br />

A History of Metallography : The Development of Ideas on the Structure of<br />

Metals Before 1890 by Cyril Stanley Smith.The books by Dr. Smith are excellent references and<br />

offer a wonderful perspective on the history of metal working.<br />

On <strong>Damascus</strong> <strong>Steel</strong> by Leo Figiel. A great resource book on <strong>Damascus</strong> steel, patterns<br />

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History<br />

etc.<br />

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Books Music Enter keywords...<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: June 30, 2002.<br />

http://www.dfoggknives.com/History.htm (3 of 3) [11/2/2003 2:08:44 PM]


Bookstore<br />

Knifemaker's Bookstore<br />

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

direct purchase. For a more complete listing of books published and distributed by Knife<br />

World Books click on their link and visit their web site.<br />

Bookstore | Afterhours | History | Metaphysical | Metalworking | Music to Forge By | Home<br />

Japanese work:<br />

The Japanese Sword, Kanzan Sato Japanese Arts Library<br />

A wonderful book that outlines the history and construction of the swords. It features many of the<br />

treasure blades in clear photographs.<br />

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

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

excellent photographs and useful appendices.<br />

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Bookstore<br />

The Craft of the Japanese Sword, Yoshindo Yoshihara Kodansha International,<br />

Tokyo and New York<br />

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

one of the leading smiths in Japan.<br />

The Connoissuer's Book of Japanese Swords, by Kokan Nagayama<br />

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

drawings of the temper lines from the various schools and smiths. Lots of technical information about<br />

swords.<br />

Custom Knives:<br />

Knives 2002 If you are interested in making, collecting or looking up information about<br />

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

history of knives, lots of photos of the years best knives plus a complete index of makers, organizations,<br />

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

development of the craft. Get it.<br />

Knives: Points of Interest by Jim Weyer, Weyer International<br />

Knives: Points of Interest Book II by Jim Weyer, Weyer International<br />

Knives: Points of Interest Book III by Jim Weyer, Weyer International<br />

Knives: Points of Interest Book IV by Jim Weyer, Weyer International<br />

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

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

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

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

inspirational craftsmanship. For the collector, they give a historical record of the development of the<br />

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

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Bookstore<br />

Knifemaking:<br />

Step By Step Knifemaking: You Can Do It! by David Boye<br />

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

knives. I recommend it for the heat treating and scrap steel section alone.<br />

How to Make Knives by Richard Barney and Robert W. Loveless<br />

Good book with lots of useful information, covers handle construction, tools and tips.<br />

How to Make Folding Knives: A Step by Step How to, by Ron Lake, Frank Centofante,<br />

and Wayne Clay<br />

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

Custom Knifemaking: 10 Projects From a Master Craftsman, by Tim McCreight<br />

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

The Complete Bladesmith: Forging Your Way to Perfection by Jim Hrisoulas<br />

Pattern Welded Blade by Jim Hrisoulas<br />

Master Bladesmith: Advanced Studies in <strong>Steel</strong> by Jim Hrisoulas<br />

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

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

I setup this bookstore to help defray some of the costs of maintaining this site. I<br />

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Bookstore<br />

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

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

should be recommended here or if you experience any problems please contact me.<br />

Return to Top<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: April 04, 2002.<br />

Books Music Enter keywords...<br />

http://www.dfoggknives.com/bookstore.htm (4 of 4) [11/2/2003 2:08:45 PM]


Afterhours<br />

Knifemaker's Bookstore<br />

After Hours Reading<br />

Bookstore | Afterhours | History | Metaphysical | Metalworking | Music to Forge By | Home<br />

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

these are books I can recommend because they are really well written. Amazon offers reviews<br />

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

hyperlink to go to the Amazon site.<br />

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

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

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

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

to get the favor of the book before you buy.<br />

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Afterhours<br />

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

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

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

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

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

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

Good read.<br />

The Crossing by Cormac McCarthy volume two in the Border Trilogy. McCarthy is a<br />

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

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Afterhours<br />

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

out, but am going to get it immediately and complete the set.<br />

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

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

describe her style, but her writing is wonderful.<br />

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

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

Return to Top<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: April 04, 2002.<br />

http://www.dfoggknives.com/Afterhours.htm (3 of 4) [11/2/2003 2:08:47 PM]


Afterhours<br />

Books Music Enter keywords...<br />

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Metaphysical<br />

Knifemaker's Bookstore<br />

Metaphysical Reading<br />

Bookstore | Afterhours | History | Metaphysical | Metalworking | Music to Forge By | Home<br />

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

This list may include spiritual, philosophical, or inspirational readings, but all are books that<br />

have helped me gain understanding.<br />

Mastery Through Accomplishment by Hazrat Inayat Khan. This is a wonderful book,<br />

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

in the morning to clear my mind and set the tone for the day.<br />

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

explored the mind and consciousness. It lays a down a fascinating framework for the exploration of<br />

consciousness and draws some interesting conclusions about how we perceive reality. If you enjoy<br />

philosophy, psychology and the study of consciousness, this will be an good read.<br />

http://www.dfoggknives.com/Metaphysical.htm (1 of 3) [11/2/2003 2:08:49 PM]


Metaphysical<br />

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

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

daily life. Simple truths well put and a good place to start.<br />

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

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

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

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

email.<br />

Anam Cara Anam Cara by John O'Donohue. Anam Cara, Gaelic<br />

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

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

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

blood, and bone; we comprise individual worlds. The comprehension of the<br />

sublime architecture of the worlds we are born with will engender a new<br />

appreciation for the outside world and the way we contribute to its evolution.<br />

Recommended by Jeanne Kelso.<br />

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Metaphysical<br />

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

and spiritual confrontations all artists experience. Honest, well written and helpful, especially when you<br />

are experiencing problems. Recommended by Peter Powning.<br />

Metaphysical 2<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: April 04, 2002.<br />

Books Music Enter keywords...<br />

http://www.dfoggknives.com/Metaphysical.htm (3 of 3) [11/2/2003 2:08:49 PM]


Metalworking<br />

Knifemaker's Bookstore<br />

Metalworking:<br />

Bookstore | Afterhours | History | Metaphysical | Metalworking | Music to Forge By | Home<br />

The Art of Blacksmithing by Alex W. Bealer<br />

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

and a good resource book.<br />

The Complete Guide to Sharpening by Leonard Lee<br />

The Edge of the Anvil by Jack Andrews reference book for blacksmithing, tools, techniques,<br />

excellent source book.<br />

<strong>Steel</strong> Hardening, Tempering, and Forging Made Easy by Joseph V. Woodworth<br />

Metalwork and Enamelling by Herbert Maryon<br />

Mokume Gane in the Small Shop: The Complete Guide to Diffusion Welding Mokume by Steve<br />

Midgett<br />

A good place to start your mokume project. Has lots of useful information.<br />

http://www.dfoggknives.com/Books%20Metal.htm (1 of 3) [11/2/2003 2:08:50 PM]


Metalworking<br />

Jewelry Concepts and Technology by Oppi Untracht<br />

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

an idea book as well as a complete how to. Highly recommended.<br />

Fundamentals of Metalsmithing by Tim McCreight<br />

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

Practical Casting by Tim McCreight<br />

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

resource for beginning casting projects.<br />

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

Moran, Robbin Hudson and the "<strong>Damascus</strong> research team" of Daryl Meier, Jim Wallace, present curator<br />

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

<strong>Damascus</strong> steel provided a starting point for working with this steel and inspired me and many others to<br />

begin working with it.<br />

Samuel Yellin by Jack Andrews. Documents the work of Samuel Yellin<br />

Return to Top<br />

Home|Bookstore|Available|Feedback|Back<br />

http://www.dfoggknives.com/Books%20Metal.htm (2 of 3) [11/2/2003 2:08:50 PM]


Metalworking<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: June 30, 2002.<br />

Books Music Enter keywords...<br />

http://www.dfoggknives.com/Books%20Metal.htm (3 of 3) [11/2/2003 2:08:50 PM]


Music to Forge By<br />

Music to Forge By<br />

Bookstore | Afterhours | History | Metaphysical | Metalworking | Music to Forge By | Home<br />

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

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

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

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

Amazon. There are sound clips from some of the albums on their site. Enjoy.<br />

Celtic<br />

Book of Secrets by Loreena McKennitt<br />

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

voice. This music is ancient and haunting.<br />

The Mask and Mirror by Loreena McKennitt<br />

An earlier album that has the same wonderful ancient quality to it.<br />

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Music to Forge By<br />

World Music<br />

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

has some really interesting didgeridoo music and driving rhythms.<br />

Baka by Outback. I like this group, they can get you going.<br />

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

from mystical musical traditions from various cultures and combines them with vocals that are<br />

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

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

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Music to Forge By<br />

Mystical Garden by Omar Faruk. This is Sufi mystical music from the Turkey.<br />

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

chanting, a real and inspiring music.<br />

Tekbilek by Omar Faruk. More Sufi music from Turkey.<br />

Best of Kodo by the Kodo drummers of Japan. The Kodo drummers are high<br />

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

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

generated.<br />

and high energy.<br />

Heartbeat Drummers of Japan by the Kodo drummers of Japan. Pure percussion<br />

http://www.dfoggknives.com/music.htm (3 of 5) [11/2/2003 2:08:53 PM]


Music to Forge By<br />

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

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

Montana Makers Recommend<br />

Recommended listening from the Montana knifemakers group, Barry Gallagher, Rick Dunkerley, Shane<br />

Taylor and Wade Colter. These albums have a Texas blues and rock sound.<br />

World Wide Open by Omar and the Howlers. Texas style stomping music<br />

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

like them there is more to choose from.<br />

Return to Top<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: January 22, 2002.<br />

Books Music Enter keywords...<br />

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Music to Forge By<br />

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Don Fogg Custom Knives<br />

This site is about Handmade Knives and the Craft of Bladesmithing.<br />

The Gallery showcases Swords, daggers, hunting knives, art knives, Collectibles and Using Knives of<br />

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

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

Check Cup of Coffee for updates to the site; the Bookstore for recommended reading on this<br />

subject and more; to leave your calling card use Bladesmith Locator.<br />

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

questions so drop on by.<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: March 13, 2003.


Links<br />

Metal Sites<br />

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

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

with.<br />

Links | Knifemakers | Technical | Artists<br />

ABANA Artist-Blacksmith's Association of North American<br />

Alabama Forge Council<br />

American Crafts Council<br />

American Bladesmith's Society<br />

American Society of Metals resource for books on metallurgy, heat treating etc.<br />

ARMA The association for Renaissance Martial Arts<br />

!tzalist Arts Directory<br />

Art Knife Good site with lots of info<br />

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Links<br />

Art Knife Collector's Association<br />

ArtMetal<br />

ArtTeach Christopher Ray's new site for art resources and information<br />

Bladeforums<br />

BladeGallery Collective site for some really good bladesmiths<br />

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

magazine. It is full of great pictures and content rich articles. Check it out.<br />

Canadian Ironworkers<br />

Custom Knife a dealer site with customs<br />

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

blades<br />

<strong>Damascus</strong> French site with good information on <strong>Damascus</strong> steel<br />

Ethnographic Edged Weapons Resource Site historical information, good resource site<br />

FABA Florida blacksmithing organization with how to articles related to knifemaking<br />

Ikkyudo Japanese sword work etc.<br />

International Knife Directory<br />

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

wonderful place to learn.<br />

Knifemakers Guild Site<br />

KnifeArt.com - Fine Custom Knives<br />

KnifeDirectory.com - Web Knife Directory<br />

KnifeForum.com - Custom Knife Discussion<br />

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Links<br />

Knives R Us<br />

W.Levine Knives a collection of high end custom knives<br />

North Carolina Knifemaker's Guild Check this site for listing of knifemaking classes offered<br />

Phoenix Metal Creations Swords, daggers, and much more.<br />

The Japanese Sword Site<br />

Japanese Sword Information<br />

Japanese Sword Catalog Good photographs and descriptions of swords for sale in Japan<br />

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

taught in a wonderful mountain retreat environment. Home of my sword forging class.<br />

Ryoma Life of a Renaissance Samurai and Samurai Sketches by Romulus Hillsborough The story of a<br />

Japanese legend<br />

Sculpture<br />

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

Tsuba<br />

Resources:<br />

A.G. Russell, dealer<br />

Ancient World Web Wonderful resource site for information about the ancient world<br />

Anvil Fire Blacksmithing web site full of good stuff and useful links<br />

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

Habaki making and much more.<br />

Blacksmith's Junkyard Great forum for information on blacksmithing and metalwork.<br />

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Links<br />

Bugei Trading Co. Japanese books, supplies, swords etc.<br />

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

Canadian Blacksmith's Organization<br />

Casting Supplies<br />

Cool Crafts Directory Extensive collection of links<br />

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

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

to do business.<br />

Congress Polish Supplies Stones and more<br />

Desert Ironwood Miguel's web page with photos of the wood available<br />

Eblade Store Knives, Accessories and Gift Items<br />

Edwards Heat Treating established heat treater in the Bay area that offers cyrogenic treatment<br />

English Re-enactment Supplies<br />

Euro Anvils European style anvils made in the USA<br />

Gail Ford's Custom Knifemakers Site good source site for links and articles<br />

Gilmer Woods Fine woods<br />

Japanese Ho wood for saya<br />

Jantz Supply Knifemaking supplies.<br />

Jeff Carlisle Knife steels and supplies, hydraulic presses and dies<br />

Fred Lohman Co. Japanese sword supplies<br />

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

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Links<br />

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

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

the professional.<br />

Historical Armed Combat Association Interesting site with good links<br />

International Knife Directory Comprehensive directory of knifemakers and suppliers online<br />

Tony Hnilica's Index of Knife steels and materials<br />

Knife <strong>Steel</strong>s<br />

Kydex sheaths<br />

Lindsay Publications Good source for hard to find technical books<br />

Mammoth Fossils Source for fossil mammoth ivory from Russia<br />

Manhattan Supply Direct Supplier for metalworking and much more<br />

Metal Cyber Space an extensive listing of metal and jewelry related sites by Susan Sarantos<br />

Metallurgy <strong>FAQ</strong> V 1.0 by Drake H. Damerau<br />

Metal Web News Many links to metal related sites<br />

Moorcat's Link Library<br />

Mother of Pearl good source for pearl<br />

Mugen Dachi Co. selling tatami omote for tameshigiri<br />

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

Neo Tribal Metalsmiths<br />

Old World Anvils Anvils, tools and supplies<br />

Online Metals source for nonferrous and ferrous metals<br />

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Links<br />

Pop's Knife Supplies<br />

Viking sword site, useful info and photos<br />

Neoptics for reusable plastic magnifier lenses<br />

Raven Armory Make good quality medieval weapons<br />

Ron Reil Forge and burner designs.<br />

Sarco Knives folding knives dealer<br />

Sharpening<br />

Smith Abrasives Supplier of natural Arkansas stones and all types of sharpening systems.<br />

South Eastern Heaters Supplier for digital controllers, pyrometers, thermocouples, etc. Contact Don<br />

Ware<br />

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

Stephan Bader Co. maker of the famous Bader grinders<br />

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

Swordforum forum dedicated to swords, lively discussions, soon to be an online magazine<br />

Tannehill State Park homepage for the home base of Batson's Bladesmithing Symposium<br />

Tatara furnace<br />

Therion Arms Medieval resource selling antique and reproduction arms and armor from around the<br />

world<br />

Titanium Joe titanium scrap dealer<br />

Uncle Al the Knifemaker's Pal Knifemaking tools and supplies<br />

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Links<br />

Winkoff's Junkyard Blacksmithing resource page, info, chat, links good site.<br />

Wicked Knife Company<br />

Wood Property Enhancement Co. Specializing in custom wood impregnation, for bone, wood and antler<br />

adding strength, indent resistance and dimensional stability to the material.<br />

Woodcraft Supply Tools, supplies and books<br />

Links | Knifemakers | Technical | Artists<br />

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

your page listed please email me<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: April 28, 2003.<br />

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Knifemakers<br />

Andre Andersson<br />

Afri-Thipa Pretoria, South Africa<br />

Boyd Ashworth<br />

Knifemakers<br />

Links | Knifemakers | Technical | Artists<br />

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

Joe Babb<br />

Mary Bailey Scrimshander<br />

Paul Baker English maker doing Japanese style work<br />

Mark Banfield knives from New Foundland<br />

Van Barnett Elegant knives from a leading maker<br />

Rick Barrett Japanese style blades and furniture<br />

Dale Baxter up and coming Alabama bladesmith<br />

Michael Bell Japanese trained swordsmith, makes tradition katana, beautiful work.<br />

Craig Blankenship<br />

Chad Benson White Crane Forge<br />

Travis Blevins Forge<br />

Jose de Braga very talented and creative Canadian maker. Exciting work check it out.<br />

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Knifemakers<br />

Peter Burt New England knifemaker, new and interesting forged work<br />

Carolina Knives Tommy McNabb and Travis Daniel combine to make a wide range of using and<br />

collectible knives<br />

Kevin Cashen a very talented young sword smith offering classic work<br />

Ron Claiborne<br />

Howard Clark Katanas, folders, and custom heat treating<br />

Raymond Coon <strong>Damascus</strong> daggers and using knives<br />

Steve Corkum a popular tactical knife maker with martial arts background<br />

Pierre Couture<br />

Don Cowles Nice knives<br />

George Dailey beautiful <strong>Damascus</strong> folders<br />

Ivan de Campos Brazilian knife site<br />

Dellana Jewels of knives, by the leading woman knifemakers<br />

John DeMesa sword polishing<br />

Heinz Denig One of Germany's leading <strong>Damascus</strong> makers<br />

Deb Donnelly Scrimshaw<br />

Ken Durham Well done American and Scottish designs<br />

Kaj Embretsen An old friend who does beautiful <strong>Damascus</strong> work, in folders and fixed blades<br />

Georges Emeriau French <strong>Damascus</strong> site with passion for the steel<br />

John Etzler Beautiful work, careful craftsmanship<br />

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Knifemakers<br />

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

knifemaking<br />

Mike Faul Japanese swordsmith, nice site.<br />

Peter Farquhar Swords<br />

Bill Fiorini Mosaic <strong>Damascus</strong> and tools. Bill is one of the early <strong>Damascus</strong> makers and a long time<br />

teacher.<br />

Dan Fronefield Meteorite folder.<br />

Richard Furrer wootz and stuff<br />

Barry Gallagher Fine folders and mosaic steel from one of the top makers today<br />

Barry Gardner Australian bladesmith making some good looking knives<br />

Daniel Gentile Ronin swords<br />

Patrick Giacobbe Sword polisher. He also has created a Forum for Japanese swords<br />

Chantal Gilbert jeweller and knifemaker who does beautiful work<br />

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

David Goldberg Japanese swords, tanto and fittings<br />

Daniel Golden Stainless Bowies and hunters<br />

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

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

Randal Graham swordsmith, very knowledgeable and dedicated, working in European and Japanese style<br />

blades<br />

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

knifemakers<br />

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Knifemakers<br />

Gib Guignard Cactus Forge<br />

Ed Halligan bladesmith, carver, inventor of the famous KISS knives<br />

Butch Hanby Buffalo Waller Knife Works<br />

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

tomahawks, good stories.<br />

Patrick J. Hastings makes fittings for Japanese swords and tanto. Nice work<br />

Rade Hawkins long time knifemaker and supplier. Rade is a great resource for information and materials<br />

as well as good knives.<br />

Wally Hayes President of the Canadian Knifemakers Guild and fine maker check it out.<br />

Tony Hnilica custom knives and services<br />

Dan Hockensmith Nice work<br />

Dennis Holmbacka<br />

John Lewis Jensen<br />

Mike Koller<br />

R.J. Knives<br />

Ray Kirk, Raker Knives<br />

Bob Kramer<br />

Matt Lamey<br />

Len Landrum<br />

Mark Laramie folders<br />

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Knifemakers<br />

Keith Larman Japanese sword polishing<br />

William Latham Sword polisher<br />

Steve Lindsay Engraving An amazing engraver, must see site<br />

Tim Lively Knives forged to shape. Part of the Neo Tribal Bladesmithing movement.<br />

Wolf Loechner Elegant daggers, beautifully designed and executed<br />

Jonathan A. Loose<br />

Magnus Design<br />

Jay Maines<br />

Al Massey<br />

Chris Marks<br />

Gene Martin<br />

Peter Martin<br />

Tony Martin Arcadian Forge<br />

Tom McGuane<br />

Daryl Meier <strong>Steel</strong> source from the master <strong>Damascus</strong> maker. Grandpa to us all.<br />

John de Mesa Swords and sword polishing site, contemporary blades, nice work.<br />

Michael Miller Knives and exotic burled wood<br />

Richard Mize Fox Creek Forge<br />

Steve Mullin/Pack River Knife Co.<br />

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Knifemakers<br />

Patrik Nilsson Artic Circle knives<br />

Daniel O'Connor Good work and interesting articles<br />

Gene Osborn Good shop tour<br />

Rik Palm<br />

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

productive and has helped more people in the business than anyone I know.<br />

Mark Pesetsky<br />

Jacob Powning Celtic and Norse design knives and swords, nice work<br />

Francois Pitaud French bladesmith and ironworker<br />

Terry Primos Working knives and bladesmithing articles, good site.<br />

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

Pierre Reverdy Talented French <strong>Damascus</strong> maker and artist<br />

Kirk Rexroat Beautiful work<br />

Bertie Rietveld One of South Africa's leading knifemakers<br />

Steve Schwarzer Mosaic Meister and knifemaker extraordinaire.<br />

Harald Selevold Norwegian knives, nice work.<br />

Scott Slobodian Beautiful, contemporary Japanese style sword work. Tres elegant.<br />

John W. Smith Nice folders<br />

Randy Stevens Knives<br />

Johnny Stout<br />

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Knifemakers<br />

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

Shane Taylor Mosaic <strong>Damascus</strong> folders and fixed blades, one of the Montana gang, nice work.<br />

Palle Thorndal Danish maker with beautiful, traditional knives, check it out.<br />

John Tirado First class saya maker<br />

Carl van Tonder South African knifemaker, also sells handle materials<br />

Terry Torrence TJT Knives<br />

Hurl Vreeland<br />

Rainy Vallotton<br />

Butch Vallotton<br />

Viking Metal Works Glenn Parrell<br />

Walhall Forge formerly Ronin Knives<br />

Joe Walters Moonlit Forge, specializing in Japanese style blades<br />

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

Bob Warner Knives and knifemaking tips<br />

Robert Washburn ABS Journeyman smith, Custom Bladesmith<br />

Danny Winkler Beautiful period style work, excellent sheathes by Karen Shook. Nice site.<br />

Mike Zima Stainless hunters and folders, some <strong>Damascus</strong>.<br />

Tim Zowada Forges, steel, great knives<br />

Links | Knifemakers | Technical | Artists<br />

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Knifemakers<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: September 05, 2003.<br />

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Technical Links<br />

Technical Links<br />

Links | Knifemakers | Technical | Artists<br />

Please send me any links that might be of interest to others<br />

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

check in with the Way Back Machine an internet archive of old sites.<br />

Acids, Bases, and Salts-Ionice Equilibria<br />

Ancient Metals Source site for information on ancient metals<br />

Anticlastic Raising by Michael Good<br />

Anvil Magazine<br />

Archeology of Metals Links to ancient metals sites and research<br />

Archeometallurgy Ancient metals resource site<br />

Arms and Amor<br />

Art Resources comprehensive resource page<br />

Asian Art Works Ikkyudo<br />

Austenite/Martensite Transformation Movie<br />

Autodidactic How to books<br />

Backyard Metalcasting aka The Lab. The Oliver-Upwind Burner<br />

Russell Barr's Knife Points Tips and links for knifemaking<br />

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Technical Links<br />

Batteries Good information on rechargeable batteries and the technology involved<br />

Burner designs Rex Price's Hybrid Burners<br />

Steve Bloom Pages on Japanese work<br />

Casting Information<br />

Charcoal Retort Daniel O'Connor has a good article on making a charcoal retort for making charcoal<br />

Contact Wheels Rob Frink<br />

Converters Building 3 phase converters<br />

Crucible <strong>Damascus</strong> <strong>Steel</strong> by Anna Feuerbach covers information that she developed during doctoral<br />

thesis on the subject.<br />

Cryogenic Links<br />

CUIR BOUILLI Boiled leather armour<br />

<strong>Damascus</strong> <strong>Steel</strong> Georges Emeriau created a this site for <strong>Damascus</strong> steel and it is rich with information<br />

Die Making Company<br />

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

online. Excellent and practical<br />

The Divine Proportion Interesting site on the golden mean<br />

Dog Head Hammer information on hand hammer shape that works great for blade forging<br />

Early <strong>Steel</strong> Early historical site, tilt hammers etc.<br />

Engraving Martin Strechovsky engraving<br />

Electricity in the Workshop<br />

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Technical Links<br />

Electrolysis To remove iron oxides<br />

Electroetching<br />

Etching Article on etching brass<br />

Ferric Cloride information 1, Ferric Info 2<br />

Forge Journal Heath Muirhead's forge building adventure. Good pictures and information.<br />

Foundry Techniques by David Reid An interesting experiment in microwave casting<br />

Frugal Machinist How to site with interesting projects<br />

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

excellent.<br />

Grinder Tips from Bob Engnath<br />

Habaki Fine examples of habaki<br />

Hamon<br />

Heat Treatment Three Planes, A woodworkers guide to heat treatment. Excellent<br />

Hermes<br />

Historical Armed Combat Society<br />

Historical Metallurgical Society<br />

History of Copper An interesting site detailing the history of copper and early mining<br />

History of Martensite interesting article<br />

How to Books Gene Chapman's site for how to books on knifemaking<br />

How to Make Springs<br />

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Technical Links<br />

Image Optimization<br />

Industrial Heating<br />

Iron Smelting Site Good project site check it out<br />

Japanese Box Bellows Daniel O'Connor has an article on building a box bellows<br />

Japanese Glossary and Book site<br />

Japanese sword site<br />

Japanese Sword Polishing<br />

Japanese Sword Polishing deux<br />

Japanese Swordsmiths<br />

Japanese Swords and Tsuba The Boone Collection<br />

The Transition and Shape of the Japanese Sword and History<br />

Japanese Treasures<br />

Knifemaking Links<br />

Magnets<br />

Masks<br />

Martensite Transformation information<br />

Medieval Studies Sites<br />

Metal Crafts Australia<br />

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

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Technical Links<br />

Metal Web News Good source for how to articles and information<br />

Meteorite Etching Site by Marion Bagwell<br />

Microwave Casting by David Reid<br />

The Model Engineer Wonderful site about miniature steam engines, machining, lots of good tips<br />

Moro Swords<br />

Njall's Forge Construction Project<br />

Optical Pyrometer How to build a<br />

Polishing Supplies Japanese site with stones etc.<br />

Pricescan Site that shops lowest price on computers etc.<br />

Puzzle Craft John Stokes amazing wooden puzzles, very interesting<br />

Quenching Thermal graphs showing effects of clay on quenched blades<br />

Rhodochrosite Dennis Streetman's source site for rhodochrosite and stone objects.<br />

Seven Star Trading Chinese<br />

Snow Crystals A fascinating look at crystal formation<br />

<strong>Steel</strong> Equivalents<br />

<strong>Steel</strong> Chart Useful chart comparing various common steel provided by Terry Primos<br />

<strong>Steel</strong> Standards by British Blades<br />

Steve's Knifesharpening Site Useful information on sharpening<br />

Sword Bibliography wonderful compilation of resources on swords<br />

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Technical Links<br />

<strong>Steel</strong> Making by Mike Petersen<br />

Sword Metallurgy Interesting site with graphs of quenching effects<br />

Sword site, Thomas Buck good articles on Japanese swords<br />

Sword supplies Namikawa Ltd.<br />

Tatara Furnaces Site has videos of furnace making project<br />

Therion's Arms and Armor Resources of the Web<br />

T-Rex Burners Venturi burners for the forge<br />

Tsuba article by Daithi<br />

Tsuba: Art of the Japanese Sword<br />

Tsuka maki Good information on wrapping handles<br />

Tsukamaki Styles Dozens of photos showing different wrapping styles, photos could be better, but still<br />

useful<br />

Turkshead knot Animation of how to tie a turkshead.<br />

Viking Site<br />

Viking Sword<br />

Water Jet<br />

Weapons of the Igorot<br />

Wooden Swords neat practice swords and toys<br />

Wooden Swords another site on wooden swords<br />

Wootz Interesting article on wootz by Al Pendray and Dr. Verhoven<br />

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Technical Links<br />

Wootz research Richard Furrer's experiments and technical research detailed<br />

Wrought Iron information Chris Topp & Co.<br />

Links | Knifemakers | Technical | Artists<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: September 18, 2003.<br />

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


Artists<br />

Artists<br />

Links | Knifemakers | Technical | Artists<br />

Abrasha Metalwork and jewelry, geometric forms and impeccable work.<br />

Comprehensive links to artists and art sites on the web<br />

Misha Gordin, Conceptual Photography<br />

Griffe Metal. Metal work with spirit, my dear friend Griffe Griffiths has a unique style<br />

creating objects that are alive with energy.<br />

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Artists<br />

Wonderful.<br />

Janel Jacobson Beautiful carvings, netsuke and ojimi. Exceptional work.<br />

Shiho Kanzaki Wood fired pottery, a rich site featuring his work and philosophy.<br />

Jim Kelso Carving, engraving, wonderful alloyed, precious metal<br />

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

Kelso<br />

Steve Midgett Mokume gane artist, author and expert in the field.<br />

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Artists<br />

Peter Powning Ceramics, glass, metal. His wife, Beth Powning, is photographer and author, click<br />

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

Merry-Lee Rae enamellist. Masterful work with such subtlety of color and<br />

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

Phillip Sugden "An exhibition of drawings from the Himalayas that visually and metaphysically explores<br />

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

works click on Tibet<br />

Andrew Werby - United Artworks<br />

Sculpture, Jewelry, and Other Art Stuff<br />

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Links | Knifemakers | Technical | Artists


Artists<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: September 05, 2003.<br />

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


Jim Kelso<br />

Jim Kelso<br />

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

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

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

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

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<br />

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

Jim Kelso, artist's statement 1996<br />

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

Jim Kelso<br />

1-802-229-4254<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: September 01, 2002.


Mallow Pin<br />

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

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

Jim Kelso<br />

1-802-229-4254


Birch Leaf<br />

Birch Leaf Box by Jim Kelso Gold, silver, shakudo, shibuichi, ebony<br />

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

Jim Kelso<br />

1-802-229-4254


Lady's Slipper<br />

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

Jim Kelso<br />

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


Lady's Slipper<br />

1-802-229-4254<br />

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


Lady Bug<br />

Chrysanthemum Lady Bug Pin by Jim Kelso Gold, shakudo, shibuichi<br />

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

Jim Kelso<br />

1-802-229-4254


KelsoMothIll2<br />

Evening Moth Box by Jim Kelso<br />

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


KelsoMothIll2<br />

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

inlay from back in Mother-of-Pearl. Traditional Japanese rokusho patination.<br />

Jim Kelso Images<br />

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http://www.dfoggknives.com/site_map.htm<br />

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

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

names. Unreachable files are shown at the bottom of the list.<br />

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Don Fogg Custom Knives<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: October 14, 2003.<br />

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


The Way<br />

The Way of Bladesmithing<br />

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

process is the path we follow.<br />

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

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

shape and form the materials, but by providing the direct connection for the maker they force the<br />

craftsman to learn about himself in the process.<br />

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

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

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

however, skills are acquired and the tools become a familiar interface with the materials.<br />

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

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

Consciousness is forced to remain in the present. Every action requires thoughtful consciousness and<br />

every action shows directly in the work.<br />

It is the effort to discipline the mind to attention that is most challenging. Because the work provides<br />

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

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

expressed through the object that is created. While it is the process that involves the craftsman, the<br />

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

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

it contains. This too is part of the process.<br />

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The Way<br />

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

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

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

fully let go and we are open to receive.<br />

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

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

discipline is strength. Inner discipline provides solid ground on which to build.<br />

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

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

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

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

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

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

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

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

Employ the mind or it will employ you.<br />

Breath<br />

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

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

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

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

a calming and centering affect. This is ancient wisdom.<br />

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

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

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

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

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

control us. At the very least, it distracts the mind.<br />

Sweeping the shop<br />

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

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

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

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

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

the work ahead. Sweep the mind free of clutter and focus on the day.<br />

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The Way<br />

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

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

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

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

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

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

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

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

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

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

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

process.<br />

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

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

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

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

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

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

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

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

years ago.<br />

Chopping Charcoal<br />

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

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

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

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

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

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

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

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

wrong when one's self is not disciplined." Hazrat Inayat Khan<br />

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<br />

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

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

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

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

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

The clearest guide you can have in life is joy.<br />

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The Way<br />

Attunement<br />

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

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

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

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

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

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

well.<br />

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

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

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

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

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

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

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

experiences that go beyond that relationship. Later you find that while you are working, you are<br />

capturing perfectly every moment of your consciousness. The blade is a frozen record of your<br />

experience, it needs no explanation because it exists and can speak for itself.<br />

Ideals<br />

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

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

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

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

honored.<br />

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

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

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

journey.<br />

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

breaking is the goal." the Gayan.<br />

Perfection<br />

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

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The Way<br />

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

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

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

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

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

what you do not yet understand.<br />

Page Two...The Creative Process<br />

The Way | Creative Process | Fire | Vibrations | Self | Life | Perfection |Why | Truth | Working Consciously<br />

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Revised: September 07, 2003.


Creative Process<br />

The Creative Process<br />

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

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

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

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

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

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

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

be refilled.<br />

Work Cycles<br />

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

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

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

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

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

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

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

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

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

when it is broken, but it can also become a stagnant environment.<br />

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Creative Process<br />

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

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

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

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

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

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

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

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

Ingestion<br />

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

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

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

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

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

vital to personal growth.<br />

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

design. The problems presented by the materials are universal and the solutions are wonderfully creative<br />

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

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

from it and then let it come back with the same honesty.<br />

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

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

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

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

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

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

Digestion<br />

Most creative thoughts and experiences come more though the environment in which we surround<br />

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

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

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

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

Doldrums<br />

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Creative Process<br />

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

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

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

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

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

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

momentum.<br />

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

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

cycle of balance and to have faith.<br />

Inside Out<br />

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

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

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

find yourself through the material. You have to let go.<br />

Fire<br />

Peter Powning Discus<br />

The Way | Creative Process | Fire | Vibrations | Self | Life | Perfection |Why | Truth | Working Consciously<br />

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Fire<br />

Fire<br />

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

forged his will upon the world"<br />

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

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

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

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

staring into a white hot welding fire twenty years later and made the connection.<br />

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

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

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

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

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

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

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

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

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

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

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

world and reveals the structure within the chaos.<br />

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

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

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

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

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

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

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

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

given me a place to stand.<br />

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Fire<br />

Winds of Liberation by Phillip Sugden For more images on this site<br />

click on Tibet<br />

Vibration<br />

The Way | Creative Process | Fire | Vibrations | Self | Life | Perfection |Why | Truth | Working Consciously<br />

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Fire<br />

http://www.dfoggknives.com/fire.htm (3 of 3) [11/2/2003 2:09:12 PM]<br />

Revised: September 07, 2003.


Tibet<br />

Phillip Sugden<br />

For more work visit the Asian Arts exhibit featuring Phillip Sugden's work<br />

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

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Available<br />

Available Knives<br />

Click on the image or link for more information and graphics<br />

Corded Skinner by DFogg SOLD<br />

One of the problems with doing one of a kind work is the delay in making and<br />

delivering the product. A customer interested in the work places an order then has<br />

to wait several months and sometimes years before receiving it. It is possible to<br />

buy directly from the maker at the custom knife shows, but even then it is<br />

difficult for the maker to create pieces and still satisfy his obligations. I am<br />

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

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

knives will be available for immediate delivery and will be sold on a first come<br />

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

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


Available<br />

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

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

thumbnail photo of the knife and include hyperlinks to larger images. I am using<br />

a new electronic payment system called PayPal. Click on the link below to sign<br />

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

checks are accepted.<br />

Don Fogg<br />

40 Alma Rd<br />

Jasper, AL 35501<br />

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Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: October 28, 2003.<br />

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


SamSkinnerCordIll<br />

Samurai Skinner<br />

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

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

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

basis. I accept PayPal. Thanks. SOLD<br />

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http://www.dfoggknives.com/SamSkinnerCordIll.html [11/2/2003 2:09:16 PM]


http://www.dfoggknives.com/vibrations.htm<br />

Vibrations<br />

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

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

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

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

can only listen.<br />

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

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

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

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

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

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

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

consciously and am more thoughtful about what I listen to.<br />

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

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

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

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

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

what you eat.<br />

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

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

disconcerting and uncomfortable at first, but it will calm the spirit.<br />

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http://www.dfoggknives.com/vibrations.htm<br />

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

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

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

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

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

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

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

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

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

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

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

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

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

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

around me. Once again the process is to let go.<br />

Self<br />

The Way | Creative Process | Fire | Vibrations | Self | Life | Perfection |Why | Truth | Working Consciously<br />

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Revised: October 28, 2003.<br />

http://www.dfoggknives.com/vibrations.htm (2 of 2) [11/2/2003 2:09:17 PM]


Time Out Bell<br />

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

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

http://www.dfoggknives.com/timeoutbell.htm [11/2/2003 2:09:18 PM]<br />

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Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: June 27, 2001.


Self<br />

Self<br />

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

your attention is right at hand and that is the work before you.<br />

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

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

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

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

distractions that are not obvious from any other perspective. Some of these distractions are not important<br />

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Self<br />

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

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

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

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

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

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

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

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

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

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

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

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

know who we are or who we are capable of becoming.<br />

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

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

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

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

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

sense of exhilaration, working mindfully in the shop and accepting responsibility for the work of our<br />

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

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

continue to grow.<br />

Raven's Head guard by Murad Sayen<br />

The Way | Creative Process | Fire | Vibrations | Self | Life | Perfection |Why | Truth | Working Consciously<br />

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Revised: September 07, 2003.<br />

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New Page 1<br />

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New Page 1<br />

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

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

handle done in a polar bear theme. This piece was completed May 1999<br />

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Revised: July 21, 2002.<br />

http://www.dfoggknives.com/bear_dagger.htm (2 of 2) [11/2/2003 2:09:20 PM]


Life<br />

Life<br />

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

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

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

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

shattered and reformed into the river below.<br />

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

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

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

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

string on the necklace of our lives.<br />

The Way | Creative Process | Fire | Vibrations | Self | Life | Perfection |Why | Truth | Working Consciously<br />

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Life<br />

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Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: October 28, 2003.


Perfection<br />

Perfection<br />

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

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

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

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

flawless execution of an idea, but in the discovery of the true nature of things.<br />

The Way | Creative Process | Fire | Vibrations | Self | Life | Perfection |Why | Truth | Working Consciously<br />

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Revised: September 07, 2003.


Why<br />

Why?<br />

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

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

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

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

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

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

to live consciously.<br />

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

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

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

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

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Why<br />

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

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

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

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

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

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

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

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

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

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

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

kiss. It reminds me to be quiet.<br />

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

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

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

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

activity, then there is no purpose and I am empty.<br />

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

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

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

I speak of consciousness in loose and often contradictory ways, because in fact consciousness defies<br />

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

the clarity, brilliance and color of our consciousness.<br />

The Way | Creative Process | Fire | Vibrations | Self | Life | Perfection |Why | Truth | Working Consciously<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: September 07, 2003.<br />

http://www.dfoggknives.com/why.htm (2 of 2) [11/2/2003 2:09:23 PM]


Truth<br />

Truth<br />

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

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

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

what needs to be confronted.<br />

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

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

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

dialog every day, every minute of every day sometimes.<br />

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

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

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

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

http://www.dfoggknives.com/truth.htm (1 of 2) [11/2/2003 2:09:25 PM]


Truth<br />

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

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

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

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

the assaults of the world.<br />

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

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

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

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

creation and the mystery of it unfolds before us as we seek it out.<br />

The Way | Creative Process | Fire | Vibrations | Self | Life | Perfection |Why | Truth | Working Consciously<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: September 07, 2003.<br />

http://www.dfoggknives.com/truth.htm (2 of 2) [11/2/2003 2:09:25 PM]


Working Consciously<br />

Serving Bowl by Craig Bird<br />

Working Consciously<br />

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

are so involved with the techniques and embellishment that we often over look the fundamentals of the<br />

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

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

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

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

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

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

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

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

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

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

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

will add to the richness of my life by its presence during our meals.<br />

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


Working Consciously<br />

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

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

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

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

lacks a reason for existing.<br />

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

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

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

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

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

enough to understand.<br />

The Way | Creative Process | Fire | Vibrations | Self | Life | Perfection |Why | Truth | Working Consciously<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: September 07, 2003.<br />

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


Collectibles<br />

Gallery<br />

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

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

highest form, became a symbol of power and honor.<br />

As an artist, knives provide a challenging opportunity to work with exotic and beautiful<br />

materials. The craft is based on the functional qualities and within the constraints of the<br />

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

created by myself solely and in collaboration with other craftsmen and artists. Knives in<br />

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

via Email<br />

Kemal<br />

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

Kelso-Fogg Don Fogg<br />

Home|Bookstore|Available|Feedback|Collecting knives<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: March 13, 2003.


Kemal<br />

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

creative energies so that I could focus on the <strong>Damascus</strong> blades and Murad could turn his artistry into<br />

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

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

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

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

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

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

each knife.<br />

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

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

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

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

the right time and Kemal was definitely one of those times.<br />

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

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

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

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


Kemal<br />

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

out Murad's web site at ShadowChasers<br />

Recent Work<br />

Home|Bookstore|Available|Feedback|Collectibles<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 07, 2003.<br />

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


Whale<br />

Whale Dagger: Water pattern <strong>Damascus</strong> blade 6", carved steel handle, fire blued.<br />

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

Home|Bookstore|Available|Feedback|Kemal<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: June 27, 2001.


Dolphin<br />

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

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

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

Home|Bookstore|Available|Feedback|Kemal<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 21, 2002.


Dragon<br />

Dragon: Kemal, collaboration between Murad Sayen and Don Fogg. <strong>Damascus</strong> fighter<br />

8" blade, carved steel guard with opal eyes, carved fossil walrus ivory handle and<br />

curley maple scabbard. Photo by Weyer International<br />

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

Home|Bookstore|Available|Feedback|Kemal<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: April 04, 2002.


Sufidagger<br />

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

curley maple with iron fittings.<br />

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

Home|Bookstore|Available|Feedback|Kemal<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: June 27, 2001.


Ewok<br />

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

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

ebony handle. Photo by Weyer of Toledo.<br />

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

Home|Bookstore|Available|Feedback|Kemal<br />

Don Fogg Custom Knives


Ewok<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: December 14, 2001.<br />

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


Falcon<br />

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

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

Home|Bookstore|Available|Feedback|Kemal<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: April 04, 2002.


Pan'sdagger<br />

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


Pan'sdagger<br />

Pan's Dagger: <strong>Damascus</strong> blade with recessed panel, carved iron guard, carved fossil walrus ivory handle<br />

with gold inlay.<br />

Home|Bookstore|Available|Feedback|Kemal<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: June 27, 2001.<br />

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


KemalDragon03<br />

Dragon Dagger - Kemal 03 Sold<br />

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

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

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

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<br />

eyes and feels great in the hand.<br />

Blade Detail Scabbard Detail Guard Detail<br />

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

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

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

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: May 21, 2003.


KemalDragon03Blade<br />

Kemal Dragon | Scabbard Detail | Guard Detail<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: May 20, 2003.<br />

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


KemalDragon03Scabbard<br />

Kemal Dragon | Blade Detail | Guard Detail<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: May 20, 2003.<br />

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


KemalDragon03Guard<br />

Kemal Dragon | Blade Detail | Scabbard Detail<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: May 20, 2003.<br />

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


Kelso-Fogg<br />

Bat Dagger: Hot sculpted <strong>Damascus</strong> blade with raised center panel one side and batwing pattern flat<br />

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

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

Museum, Memphis, TN and featured in American Craft Magazine, "The American Art Knife,"<br />

February/March 1993.<br />

Chrysanthemum Folder: <strong>Damascus</strong> steel blade by Don Fogg, carved sterling silver handle with 18k gold<br />

handle by Jim Kelso. Mechanism by Joe Kious. Click on image for expanded view.<br />

http://www.dfoggknives.com/kelso.htm (1 of 2) [11/2/2003 2:09:45 PM]


Kelso-Fogg<br />

Life and Death Dagger: Collaboration Jim Kelso and Don Fogg. For enlargement and details click on<br />

image. I have posted other images of Jim Kelso's work at Jim Kelso<br />

Home|Bookstore|Available|Feedback|Collectibles<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 29, 2001.<br />

http://www.dfoggknives.com/kelso.htm (2 of 2) [11/2/2003 2:09:45 PM]


Chrysanthemum<br />

http://www.dfoggknives.com/chrysant.htm [11/2/2003 2:09:45 PM]<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: December 14, 2001.


Life and Death<br />

http://www.dfoggknives.com/life_and_death_dagger.htm (1 of 2) [11/2/2003 2:09:47 PM]


Life and Death<br />

Life and Death Dagger: Feather pattern <strong>Damascus</strong> steel and textured wrought iron blade, 10" by Don<br />

Fogg. The handle features a carved silver and gold demon on the textured side with carved ebony. On the<br />

reverse, a silver and gold orchid flower with carved ebony and inlay stone. Handle work by Jim Kelso.<br />

Home|Bookstore|Available|Feedback|Kelso-Fogg<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: June 27, 2001.<br />

http://www.dfoggknives.com/life_and_death_dagger.htm (2 of 2) [11/2/2003 2:09:47 PM]


D.Fogg<br />

These are recent pieces with links to larger images. I have organized the thumbnails into<br />

broad categories below to speed up viewing.<br />

Sculptural | Daggers and Tanto | Swords | Using Knives | Curious<br />

http://www.dfoggknives.com/D.Fogg.htm [11/2/2003 2:09:49 PM]<br />

Collectibles|Biographical<br />

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Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: September 05, 2002.


Blue Bowie Spirit pattern <strong>Damascus</strong> blade 9<br />

Blue Bowie Spirit pattern <strong>Damascus</strong> blade 9" with <strong>Damascus</strong> fittings, gold and shakudo accents and blue<br />

fossil walrus ivory handle.<br />

Home|Bookstore|Available|Feedback|Back<br />

http://www.dfoggknives.com/Bluebowie.htm (1 of 2) [11/2/2003 2:09:50 PM]


Blue Bowie Spirit pattern <strong>Damascus</strong> blade 9<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 21, 2002.<br />

http://www.dfoggknives.com/Bluebowie.htm (2 of 2) [11/2/2003 2:09:50 PM]


Stag Handle Bowie<br />

Stag Handle Bowie<br />

This Southwestern style carbon steel Bowie has a 9 inch blade and is 14 inches overall. It features <strong>Damascus</strong><br />

guard and pommel and a select stag handle. The spacers have been contoured to the stag so that the bone remains<br />

intact. The fittings are fire blued and it comes with a leather scabbard with nickel silver throat and tip. The blade<br />

has been selectively heat treated and shows a nice hamon. For a more dramatic photo that emphasizes the<br />

temperline click here Stag Bowie Page 2 This blade has very nice balance and feels good in the hand. It is sharp<br />

and quick with graceful lines.<br />

http://www.dfoggknives.com/stagbowie1.htm [11/2/2003 2:09:51 PM]<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: March 25, 2001.


Stag Handle Bowie<br />

Stag Handle Bowie<br />

This is a second illustration of the Stag Handle Bowie featured on Page 1 For more information please refer to<br />

that page.<br />

http://www.dfoggknives.com/stagbowie2.htm [11/2/2003 2:09:52 PM]<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: March 11, 2001.


Osoraku<br />

Osoraku-Zukuri style tanto. Blade forged from 1086 tool steel, traditionally heat treated and polished to show<br />

hamon. The blade is 14" long and 21" overall, at its widest, it is 1 3/8ths inches. It has fuller grooves down both<br />

sides. It has a copper habaki and shakudo seppa and is in shira saya. The tsuba is feather <strong>Damascus</strong> and the<br />

ferrule and butt cap are made from the same billet each has been fire blued. The spacers are shibuichi, a copper<br />

and silver alloy, with a 24k gold inlay. The handle is carved bloodwood. The scabbard is lacquered with a carved<br />

bloodwood throat and ossik kurigata and silk cord. The stand is also bloodwood.<br />

http://www.dfoggknives.com/osoraku.htm [11/2/2003 2:09:53 PM]<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: January 04, 2001.


NewViking<br />

New Viking<br />

The blade is 15" forged from 1086 high carbon steel and selectively hardened and polished to show temperline. It has a<br />

http://www.dfoggknives.com/New%20Viking.htm (1 of 2) [11/2/2003 2:09:55 PM]<br />

.


NewViking<br />

nickel silver collar and spacers with shakudo center element and detail on the pommel. The fittings are <strong>Damascus</strong>, the<br />

pattern is shown in the background of the image. The handle is African blackwood. The blade is marked on the guard with a<br />

24k gold cherry blossom.<br />

Slideshow of work in progress<br />

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Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 21, 2002.<br />

http://www.dfoggknives.com/New%20Viking.htm (2 of 2) [11/2/2003 2:09:55 PM]


VikingConstruction<br />

Viking Construction Photos<br />

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<br />

job of documenting pieces as they are built for use in this format.<br />

http://www.dfoggknives.com/Viking%20Construction.htm [11/2/2003 2:09:57 PM]<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 21, 2002.<br />

.


CarvedTanto<br />

Tanto with 10" <strong>Damascus</strong> blade, copper habaki and <strong>Damascus</strong> tsuba and butt cap. The handle is carved bloodwood with an ivory retain pin.<br />

http://www.dfoggknives.com/CarvedTanto.htm [11/2/2003 2:09:58 PM]<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: September 05, 2002.


Tanto folded and welded steel<br />

Tanto folded and welded steel, double edge with hamon. Habaki textured copper with gold and shakudo<br />

coloration, shakudo spacers and pin, <strong>Damascus</strong> tsuba and pommel, with macadamia wood handle.<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: April 04, 2002.<br />

http://www.dfoggknives.com/MacadamiaTanto.htm [11/2/2003 2:09:59 PM]


Sculptural<br />

The form that knives can take is limitless and because they are such powerful symbols, they beg to be<br />

interpreted. What has interested me visually is the contrast between the organic textures and the precise,<br />

controlled finishes. It is the juncture of "sensitive chaos" and the edge we all walk through life, teetering<br />

on the brink of chaos, creating order from the cold. These pieces represent my understanding of that<br />

balance and my attempt to express it visually. Click on thumbnail for more.<br />

http://www.dfoggknives.com/Sculptural.htm [11/2/2003 2:10:00 PM]<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: April 04, 2002.


Oldbone<br />

photo by Weyer International<br />

Old bone: <strong>Damascus</strong> sword with textured flats, <strong>Damascus</strong> tsuba and ferrule, shakudo(copper and gold<br />

http://www.dfoggknives.com/Oldbone.htm (1 of 2) [11/2/2003 2:10:01 PM]


Oldbone<br />

alloy) spacers, garnet set in gold pin. Fossil walrus ivory handle. This sword started with the fossil bone.<br />

The bark was water worn exposing the layering and coating it with a chocolate brown color that was skin<br />

deep. The bone was actually an artifact, a tool held by some prehistoric man. It was too perfect to touch,<br />

to beautiful to enhance in any way and so the blade grew from it.<br />

Home|Bookstore|Available|Feedback|DFogg<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 21, 2002.<br />

http://www.dfoggknives.com/Oldbone.htm (2 of 2) [11/2/2003 2:10:01 PM]


Midline Crisis<br />

Textured Dagger: <strong>Damascus</strong> blade with ladder pattern edge, forged textured inset panel, gold accent<br />

copper habaki, fire blued iron fittings, gold accent copper overlay, 24k gold wire inlay, bloodwood<br />

handle<br />

http://www.dfoggknives.com/texdag.htm [11/2/2003 2:10:02 PM]<br />

Home|Bookstore|Available|Feedback|DFogg<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: June 27, 2001.


Seven Year Sickle<br />

Seven Year Sickly photo by Gallagher<br />

Seven Year Sickle: This piece was displayed at the Craft Alliance Gallery show of contemporary<br />

metal work in Kansas City, MO this winter and also at the ECCKS show in New York City. It is the third<br />

in a series of sickle shaped blades that by chance have occurred at seven year intervals during my career.<br />

The blade is <strong>Damascus</strong> that has been heavily textured along the flats and spine on one side. The reverse<br />

side is polished <strong>Damascus</strong> and shows the spirit pattern developed by the texturing. It provides a very<br />

dramatic contrast in the surfaces of the blade. The guard is iron and has forged ferrules front and aft. The<br />

handle is a fossilized walrus ossik that has rich browns with some blue. The end of the handle has been<br />

fractured and left raw and naturally textured. The pin is 24k gold bezel holding a garnet cab.<br />

http://www.dfoggknives.com/Textsickle.htm [11/2/2003 2:10:03 PM]<br />

Early Sickle<br />

Home|Bookstore|Available|Feedback|DFogg<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: April 04, 2002.


Sickle<br />

Sickle: <strong>Damascus</strong> blade with textured and fire blued finish. Guard is aged stag,<br />

handle is burled wood, <strong>Damascus</strong> butt cap. Photo by Weyer International<br />

http://www.dfoggknives.com/sickle.htm [11/2/2003 2:10:04 PM]<br />

Home|Bookstore|Available|Feedback|DFogg


Nosedagger<br />

Nose Dagger: Don Fogg<br />

The blade is <strong>Damascus</strong> steel and features an overlay of <strong>Damascus</strong> in a repeating pattern. The transition is<br />

http://www.dfoggknives.com/nosedagg.html (1 of 2) [11/2/2003 2:10:05 PM]


Nosedagger<br />

a forged iron helmet leading to a <strong>Damascus</strong> fittings and a carved ebony handle.<br />

Home|Bookstore|Available|Feedback|DFogg<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: June 27, 2001.<br />

http://www.dfoggknives.com/nosedagg.html (2 of 2) [11/2/2003 2:10:05 PM]


Daggers<br />

Daggers are a personal side arm, carried throughout history, they are intimate and have many forms. I<br />

have made a lot of daggers over my career and still am attracted to them. These represent a sampling of<br />

work that I have done. Click on the thumbnail for larger images.<br />

http://www.dfoggknives.com/Daggers.htm [11/2/2003 2:10:07 PM]<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: September 05, 2002.


Sphere dagger<br />

Sphere Dagger: All <strong>Damascus</strong> dagger with cross sectional handle change and riveted and overlay of steel<br />

spheres.<br />

http://www.dfoggknives.com/sphere.htm [11/2/2003 2:10:07 PM]<br />

Home|Bookstore|Available|Feedback|DFogg<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: June 27, 2001.


Ivoryquillion<br />

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


Ivoryquillion<br />

<strong>Damascus</strong> quillion dagger 9 inch blade, <strong>Damascus</strong> fittings with gold inlay and fluted ivory handle with<br />

twisted gold wire inlay. This dagger won best art knife at the Blade Show 1997<br />

Home|Bookstore|Available|Feedback|DFogg<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: June 27, 2001.<br />

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


Earwig<br />

Earwig Dagger: 10" <strong>Damascus</strong> dagger, riveted external members, steel plates,<br />

bloodwood handle, <strong>Damascus</strong> pommel. Photo by Weyer<br />

http://www.dfoggknives.com/earwig.htm [11/2/2003 2:10:10 PM]<br />

Home|Bookstore|Available|Feedback|DFogg<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: April 04, 2002.


Leaf Dagger<br />

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


Leaf Dagger<br />

Leaf Dagger: Leaf shaped <strong>Damascus</strong> blade with integral bolster and pommel, <strong>Damascus</strong> composite billet<br />

construction with sunrise pattern center and straight line edges, snakewood scales and gold accents.<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: January 04, 2001.<br />

http://www.dfoggknives.com/leaf.htm (2 of 2) [11/2/2003 2:10:11 PM]


Huntingdagger<br />

http://www.dfoggknives.com/huntingd.htm (1 of 2) [11/2/2003 2:10:12 PM]


Huntingdagger<br />

Hunting Dagger: All <strong>Damascus</strong> blade with texture handle section and riveted overlay.<br />

Home|Bookstore|Available|Feedback|DFogg<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: June 27, 2001.<br />

http://www.dfoggknives.com/huntingd.htm (2 of 2) [11/2/2003 2:10:12 PM]


Bubinga Tanto<br />

Bubinga Tanto<br />

Tanto forged from 1086, selectively heat treated and polished to show hamon. Textured copper habaki, <strong>Damascus</strong><br />

guard and butt cap. The spacers are shakudo and with gold wire inlay. The tanto is marked with a 24k gold cherry<br />

blossom mounted in a shakudo pin. The handle is carved bubinga and it has a lacquered scabbard. This is a<br />

smaller blade only seven inches in length, but has presence.<br />

http://www.dfoggknives.com/bubinga_tanto.htm [11/2/2003 2:10:13 PM]<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: December 14, 2001.


Enso<br />

Enso this <strong>Damascus</strong> dagger was highly influenced by Japanese work, but maintains a European look.<br />

The blade features a complex pattern that shows a different look depending on how the light strikes it.<br />

The guard and pommel are <strong>Damascus</strong> and the handle is snakewood.<br />

http://www.dfoggknives.com/Enso.htm [11/2/2003 2:10:13 PM]<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 21, 2002.


Viking dagger with scroll <strong>Damascus</strong> blade<br />

Viking dagger with scroll <strong>Damascus</strong> blade, fire blued iron and <strong>Damascus</strong> fittings, 24k gold accents and<br />

bloodwood handle and scabbard<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 21, 2002.<br />

http://www.dfoggknives.com/Vikingdagger.htm [11/2/2003 2:10:14 PM]


Swords<br />

http://www.dfoggknives.com/Swords.htm [11/2/2003 2:10:15 PM]<br />

Katana | Martial Arts | Short Swords<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: September 18, 2003.


<strong>Damascus</strong> Sword<br />

<strong>Damascus</strong> Sword: 30" <strong>Damascus</strong> spirit pattern blade, riveted components,<br />

http://www.dfoggknives.com/damsword.htm (1 of 2) [11/2/2003 2:10:16 PM]


<strong>Damascus</strong> Sword<br />

snakewood handle scales and <strong>Damascus</strong> pierced pommel.<br />

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Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 21, 2002.<br />

http://www.dfoggknives.com/damsword.htm (2 of 2) [11/2/2003 2:10:16 PM]


New Page 0<br />

Macadamia Wakisashi<br />

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<br />

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<br />

silk wrap. For closeup images click on the thumbnail below.<br />

http://www.dfoggknives.com/MacWak.htm [11/2/2003 2:10:17 PM]<br />

Image Gallery<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: September 18, 2003.


MacWak<br />

Macadamia Wakisashi<br />

Handle Closeup Hamon Tsuba<br />

JAlbum 3.5<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: October 20, 2003.<br />

http://www.dfoggknives.com/photogallery/MacWak/index.html [11/2/2003 2:10:18 PM]


MacWakHan640<br />

1/4 9/18/03 8:23 PM MacWakHan640<br />

Handle is macadamia wrapped is gold brown silk braid. The tsuba is pierced <strong>Damascus</strong>. Habaki is textured copper with copper<br />

fushi kashira, gold plated seppa and shitodome.<br />

JAlbum 3.5<br />

http://www.dfoggknives.com/photogallery/MacWak/slides/MacWakHan640.html [11/2/2003 2:10:21 PM]


MacWakFushi640<br />

2/4 9/18/03 8:25 PM MacWakFushi640<br />

Copper fushi with textured collar and 24k gold cherry blossom logo<br />

JAlbum 3.5<br />

http://www.dfoggknives.com/photogallery/MacWak/slides/MacWakFushi640.html [11/2/2003 2:10:23 PM]


MacWakhamon640<br />

3/4 9/18/03 8:32 PM MacWakhamon640<br />

Detail of the hamon on the wakisashi<br />

JAlbum 3.5<br />

http://www.dfoggknives.com/photogallery/MacWak/slides/MacWakhamon640.html [11/2/2003 2:10:26 PM]


MacWakTsuba640<br />

4/4 9/18/03 8:35 PM MacWakTsuba640<br />

JAlbum 3.5<br />

http://www.dfoggknives.com/photogallery/MacWak/slides/MacWakTsuba640.html [11/2/2003 2:10:29 PM]


Shortswords<br />

This is a category of blade that falls between a full size sword and a dagger and usually runs in length<br />

between 12 inches and 24 inches. It is an interesting size because it has the presence of a sword, but is<br />

much more portable. Click on image large images and information.<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 21, 2002.<br />

http://www.dfoggknives.com/Shortsword.htm [11/2/2003 2:10:30 PM]


ChungKuo dagger<br />

http://www.dfoggknives.com/chungkuo_dagger.htm (1 of 2) [11/2/2003 2:10:32 PM]


ChungKuo dagger<br />

Chung Kuo dagger. Blade is fifteen inch and forged from 1086, selectively hardened, with offset fuller<br />

grooves, copper habaki, <strong>Damascus</strong> guard and pommel and bloodwood handle. The spacers on handle are<br />

shakudo. This piece was designed and inspired by Craig Bird.<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 21, 2002.<br />

http://www.dfoggknives.com/chungkuo_dagger.htm (2 of 2) [11/2/2003 2:10:32 PM]


Wuwei<br />

Wuwei, a 15 inch high carbon steel blade, selectively heat treated and polished to show hamon. Nickle<br />

silver habaki, <strong>Damascus</strong> fittings and nickle silver spacers. Ebony handle. The background of the photo is<br />

a shot of the hamon on this piece. This dagger will be on display and for sale at the East Coast Custom<br />

Knife show held at the Crowne Plaza hotel, Manhattan, New York City March 12-14th, 1999<br />

http://www.dfoggknives.com/wuwei.htm (1 of 2) [11/2/2003 2:10:33 PM]


Wuwei<br />

http://www.dfoggknives.com/wuwei.htm (2 of 2) [11/2/2003 2:10:33 PM]<br />

Home|Bookstore|Available|Feedback|DFogg


Shows<br />

I will be demonstrating at the following hammerins:<br />

2002<br />

ABS New York Blade Forging & Knife Exhibition<br />

26-29 Sept 2002<br />

Camp Schodack's Meadow Brook Lodge, Nassau, New York<br />

Contact: James Batson 256/971-6860<br />

Ocmulgee Blacksmith's Guild's 8th Annual Bladesmith's Hammer In<br />

October 5-6, 2002<br />

Shadyrest Forge, Buster Grubbs<br />

Macon, Georgia<br />

Contact Ed Halligan 770-251-7720 or Buster Grubbs 478-743-4244<br />

I will be attending:<br />

1st American Bladesmiths Exposition<br />

January 31-February 1&2, 2003<br />

Silver Legacy Hotel, Reno, Nevada<br />

Contact: Jay Hendrickson 301-663-6923<br />

http://www.dfoggknives.com/shows.htm [11/2/2003 2:10:33 PM]<br />

Home|Bookstore|Available| Email<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: August 04, 2002.


Short sword 22<br />

Short sword 22" carbon steel blade, forged iron fittings, ebony handle.<br />

http://www.dfoggknives.com/Leafsword.htm [11/2/2003 2:10:35 PM]<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 21, 2002.


Celtic sword<br />

Celtic sword, carbon steel with hamon, fire blued iron fittings and wenge handle and scabbard.<br />

http://www.dfoggknives.com/celtic_sword.htm [11/2/2003 2:10:36 PM]<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 21, 2002.


Bird Dagger<br />

http://www.dfoggknives.com/bird.htm (1 of 2) [11/2/2003 2:10:37 PM]


Bird Dagger<br />

Dagger: <strong>Damascus</strong> dagger with 14" blade, <strong>Damascus</strong> fittings, gold inlay and<br />

carved ebony handle. This piece was exhibited as part of the ABANA conference<br />

1996 and at the National Ornamental Metals Museum in Memphis.<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 21, 2002.<br />

http://www.dfoggknives.com/bird.htm (2 of 2) [11/2/2003 2:10:37 PM]


Katana Information<br />

The first blade I made when I started forging was a sword and my interest has continued for over twenty<br />

years. The Japanese katana is the ultimate challenge for the bladesmith and I return to them consistently.<br />

While I have been known for my museum quality art knives, I have chosen to keep my katana functional<br />

and have tried to make the best sword I can and still keep them affordable. To do this, I have eliminated<br />

all aspects of the traditional sword that do not add to the function of the piece.<br />

You will not find fancy fittings, decorative menuki, ray skin, silk cord, and expensive polishing. While<br />

these are attractive and represent an art form in themselves, they only add cost to the sword. What I do<br />

make is a well balanced, properly heat treated, live blade that responds well in the hand and cuts. My<br />

swords are by no means unattractive, but there is a purpose to everything included in it.<br />

I use carbon steel for the blade and work with a variety of steels depending on the customer’s preferences<br />

and use. I also offer a laminated version made from folded and welded high carbon cable steels on<br />

request. The blades are hand forged to shape, ground and then heat treated in the traditional manner using<br />

a clay coating. This process yields a hard edge that is under compression and a soft back for toughness<br />

and durability. I offer the blades with a variety of finishes, the least expensive being a bead blasted or<br />

buffed finish. This provides a practical finish for cutting and is easy to maintain. I also offer a handrubbed<br />

finish. While this is not the traditional stone polish you will find on more expensive Japanese<br />

blades, it does reveal the hamon and is quite attractive. Polishing is one of the most expensive operations<br />

involved in building a katana and traditional polishes can run in excess of $150 per inch of length.<br />

Obviously a finish of this type would preclude anyone from using the sword and I have decided not to<br />

http://www.dfoggknives.com/katana.html (1 of 2) [11/2/2003 2:10:37 PM]


Katana Information<br />

offer it in my swords. The maximum blade length that I offer at this time is 28 inches.<br />

The blade has a hand-fitted copper habaki, bronze seppa and forged iron tsuba. The handle is hard wood<br />

and is cord wrapped. The sword comes with a hardwood scabbard. The swords are made to be<br />

disassembled, but I have bedded the tang so that it will not loosen during use and do not recommend that<br />

it be taken down.<br />

My swords are meant for the martial artist who needs a real sword to cut with and has been dissatisfied<br />

with the museum replicas or does not want to use an antique for practice. If you want a more traditional<br />

treatment in your sword, I can recommend other makers who can provide this service. If you are looking<br />

for a real sword for a reasonable price however, I am confident that you will find no better buy<br />

anywhere. For more information about Japanese blades check out the bibliography. I have also written up<br />

the sword forging class at J.C. Campbell Folk School and it details the steps I taught in the class.<br />

Home|Bookstore|Available|Feedback|DFogg<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: August 02, 2002.<br />

http://www.dfoggknives.com/katana.html (2 of 2) [11/2/2003 2:10:37 PM]


Japanese library<br />

Japanese Sword Books<br />

The Japanese Sword, Kanzan Sato<br />

Japanese Arts Library<br />

A wonderful book that outlines the history and construction of the swords. It features many of the<br />

treasure blades in clear photographs.<br />

Japanese Swords, Nobuo Ogasawara translated by Don Kenny<br />

Hoikusha Publishing Co.<br />

This books comes in small handbook format, but has good photographs and is a handy guide<br />

The Arts of the Japanese Sword, B.W. Robinson<br />

Faber and Faber, London<br />

This book details the development of the sword and gives a brief history of the various schools that<br />

developed. It also features excellent photographs and useful appendices.<br />

The Craft of the Japanese Sword, Yoshindo Yoshihara<br />

Kodansha International, Tokyo and New York<br />

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

one of the leading smiths in Japan.<br />

The Connoisseur's Book of Japanese Swords, Kokan Nagayama translated by Kenji Mishina<br />

Kodansha International<br />

A good guide to swords, detailing the history, schools of swordmaking with hand drawn plates showing<br />

different styles. Written for collectors, but also a good resource for makers.<br />

To purchase books on line check out my bookstore set up in association with Amazon.com<br />

http://www.dfoggknives.com/japanese.htm [11/2/2003 2:10:38 PM]<br />

Home|Bookstore|Available|Feedback|Swords<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: June 27, 2001.


Swords<br />

Dha-Chi, custom sword<br />

Macadamia Wakisashi<br />

Home|Bookstore|Available|Feedback|Katana|Japanese Library|Sword Class<br />

http://www.dfoggknives.com/MartialArts.html [11/2/2003 2:10:39 PM]<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: September 18, 2003.


Dha-Chi<br />

Dha-Chi<br />

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<br />

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<br />

and custom <strong>Damascus</strong> tsuba in carved relief. The handle is Laotian Flamewood with custom fushi kashira. The wrapping is a braided cord<br />

style. It comes with a stand and no saya. This is a totally custom sword and a major piece.<br />

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<br />

of the Shitodome and on Tying the Knot<br />

http://www.dfoggknives.com/dhachi.htm (1 of 2) [11/2/2003 2:10:40 PM]


Dha-Chi<br />

http://www.dfoggknives.com/dhachi.htm (2 of 2) [11/2/2003 2:10:40 PM]<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 15, 2003.


Blade Show Highlights 2002<br />

Making Tsuba for Dha<br />

1/15/2003<br />

Don Fogg Knives<br />

Dhatsuba.jpg Dhatsuba1.jpg Dhatsuba2.jpg Dhatsuba3.jpg Dhatsuba4.jpg Dhatsuba5.jpg<br />

http://www.dfoggknives.com/photogallery/Dhatsuba/index.htm [11/2/2003 2:10:42 PM]


Dhatsuba<br />

Making Tsuba for Dha<br />

1/15/2003<br />

Don Fogg Knives<br />

http://www.dfoggknives.com/photogallery/Dhatsuba/pages/Dhatsuba.htm [11/2/2003 2:10:42 PM]


Dhatsuba1<br />

Making Tsuba for Dha<br />

1/15/2003<br />

Don Fogg Knives<br />

First you must make sure that the tang tapers in all directions from the habaki. This should have been<br />

done when the habaki was made, but worth repeating.<br />

http://www.dfoggknives.com/photogallery/Dhatsuba/pages/Dhatsuba1.htm [11/2/2003 2:10:43 PM]


Dhatsuba2<br />

Making Tsuba for Dha<br />

1/15/2003<br />

Don Fogg Knives<br />

Carefully file the hole for the tang. Try fit often as you approach final fit.<br />

http://www.dfoggknives.com/photogallery/Dhatsuba/pages/Dhatsuba2.htm [11/2/2003 2:10:44 PM]


Dhatsuba3<br />

Making Tsuba for Dha<br />

1/15/2003<br />

Don Fogg Knives<br />

The profile of the tsuba is cut out with bandsaw and filed to shape. The internal spaces are drilled and<br />

filed with the finest lines cut in using a jeweler's saw.<br />

http://www.dfoggknives.com/photogallery/Dhatsuba/pages/Dhatsuba3.htm [11/2/2003 2:10:44 PM]


Dhatsuba4<br />

Making Tsuba for Dha<br />

1/15/2003<br />

Don Fogg Knives<br />

I had to make a tool to sand the interior spaces. This was made from an old hack saw blade. It worked<br />

well because it was thin, flexible and flat. I shaped the ends so I could get into other areas with the same<br />

tool.<br />

http://www.dfoggknives.com/photogallery/Dhatsuba/pages/Dhatsuba4.htm [11/2/2003 2:10:45 PM]


Dhatsuba5<br />

Making Tsuba for Dha<br />

1/15/2003<br />

Don Fogg Knives<br />

Unfortunately, I didn't take pictures of all the steps in the making of this piece. The background was<br />

roughed out using a Taig milling machine and then the lines were cleaned up with a flex shaft and burrs.<br />

The tooling marks were taken out using boride polishing stones. The finished piece was etched and<br />

colored.<br />

http://www.dfoggknives.com/photogallery/Dhatsuba/pages/Dhatsuba5.htm [11/2/2003 2:10:46 PM]


Blade Show Highlights 2002<br />

DFogg Dha<br />

12/26/2002<br />

www.dfoggknives.com<br />

DhaSeriesCenter.jpg DhaSeriesTang.jpg DhaSeriesTip.jpg DhaTip640.jpg DhaTipR640.jpg<br />

http://www.dfoggknives.com/Dha/DhaSeries.htm [11/2/2003 2:10:48 PM]


DhaSeriesCenter<br />

DFogg Dha<br />

12/26/2002<br />

http://www.dfoggknives.com/Dha/pages/DhaSeriesCenter.htm [11/2/2003 2:10:49 PM]


DhaSeriesTang<br />

DFogg Dha<br />

12/26/2002<br />

http://www.dfoggknives.com/Dha/pages/DhaSeriesTang.htm [11/2/2003 2:10:50 PM]


DhaSeriesTip<br />

DFogg Dha<br />

12/26/2002<br />

http://www.dfoggknives.com/Dha/pages/DhaSeriesTip.htm [11/2/2003 2:10:51 PM]


DhaTip640<br />

DFogg Dha<br />

12/26/2002<br />

http://www.dfoggknives.com/Dha/pages/DhaTip640.htm [11/2/2003 2:10:52 PM]


DhaTipR640<br />

DFogg Dha<br />

12/26/2002<br />

http://www.dfoggknives.com/Dha/pages/DhaTipR640.htm [11/2/2003 2:10:53 PM]


Blade Show Highlights 2002<br />

Making Shitodomi<br />

1/15/2003<br />

Don Fogg Knives<br />

Shitodomi are the inserts in the butt cap/ kashira that protect the cord from fraying.<br />

Dhatsukamaki1.jpg Shitodomi0.jpg Shitodomi1.jpg Shitodomi2.jpg Shitodomi3.jpg Shitodomi4.jpg Shitodomi5.jpg<br />

http://www.dfoggknives.com/photogallery/Shitodomi/index.htm [11/2/2003 2:10:55 PM]


Dhatsukamaki1<br />

Making Shitodomi<br />

1/15/2003<br />

Don Fogg Knives<br />

Shitodomi are the inserts in the butt cap/ kashira that protect the cord from fraying.<br />

http://www.dfoggknives.com/photogallery/Shitodomi/pages/Dhatsukamaki1.htm [11/2/2003 2:10:55 PM]


Shitodomi0<br />

Making Shitodomi<br />

1/15/2003<br />

Don Fogg Knives<br />

Cut your material into strips and make a right angle bend to form the lip. I am using a filing jig for this.<br />

http://www.dfoggknives.com/photogallery/Shitodomi/pages/Shitodomi0.htm [11/2/2003 2:10:56 PM]


Shitodomi1<br />

Making Shitodomi<br />

1/15/2003<br />

Don Fogg Knives<br />

This is the strip with the angle bend.<br />

http://www.dfoggknives.com/photogallery/Shitodomi/pages/Shitodomi1.htm [11/2/2003 2:10:57 PM]


Shitodomi2<br />

Making Shitodomi<br />

1/15/2003<br />

Don Fogg Knives<br />

Using a mandrel the size of the hole in the kashira, bend the strip around and mark the length. Cut off the<br />

excess with a jeweler's saw and file flush.<br />

http://www.dfoggknives.com/photogallery/Shitodomi/pages/Shitodomi2.htm [11/2/2003 2:10:58 PM]


Shitodomi3<br />

Making Shitodomi<br />

1/15/2003<br />

Don Fogg Knives<br />

You need to have a good fit, this one needs to be straightened and tightened on the mandrel. When it fits,<br />

silver solder the joint.<br />

http://www.dfoggknives.com/photogallery/Shitodomi/pages/Shitodomi3.htm [11/2/2003 2:10:58 PM]


Shitodomi4<br />

Making Shitodomi<br />

1/15/2003<br />

Don Fogg Knives<br />

I made a hole in the mandrel the size of the hole in the kashira and it allows me to final shape and finish<br />

the ends. The lenght can be trimmed by cutting off the excess while it is in the mandrel.<br />

http://www.dfoggknives.com/photogallery/Shitodomi/pages/Shitodomi4.htm [11/2/2003 2:10:59 PM]


Shitodomi5<br />

Making Shitodomi<br />

1/15/2003<br />

Don Fogg Knives<br />

Here is the mandrel with the rough shitodomi. After they are finished, they can be plated and installed.<br />

http://www.dfoggknives.com/photogallery/Shitodomi/pages/Shitodomi5.htm [11/2/2003 2:11:00 PM]


Blade Show Highlights 2002<br />

Making the Knot<br />

1/15/2003<br />

Don Fogg Knives<br />

Tying the knot at the end of the wrap involves slipping the cord under the wrapping. There is a trick that<br />

I picked up from a Japanese video that aids in this.<br />

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Blade Show Highlights 2002<br />

Dhatsukamaki1.jpg Dhatsukamaki3.jpg Dhatsukamaki4.jpg Dhatsukamaki5.jpg<br />

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Dhatsukamaki1<br />

Making the Knot<br />

1/15/2003<br />

Don Fogg Knives<br />

Tying the knot at the end of the wrap involves slipping the cord under the wrapping. There is a trick that<br />

I picked up from a Japanese video that aids in this.<br />

http://www.dfoggknives.com/photogallery/Knot/pages/Dhatsukamaki1.htm [11/2/2003 2:11:03 PM]


Dhatsukamaki3<br />

Making the Knot<br />

1/15/2003<br />

Don Fogg Knives<br />

First you slide a piece of either exposed film or in this case, a piece of shim stock, under the wrapping. I<br />

usually go under the last two folds and tuck the left over out of the way.<br />

http://www.dfoggknives.com/photogallery/Knot/pages/Dhatsukamaki3.htm [11/2/2003 2:11:04 PM]


Dhatsukamaki4<br />

Making the Knot<br />

1/15/2003<br />

Don Fogg Knives<br />

Next take two more pieces of shin stock and slide them under the wrapping. Insert the cord between the<br />

pieces and using it as a pincher push/pull the cord through.<br />

http://www.dfoggknives.com/photogallery/Knot/pages/Dhatsukamaki4.htm [11/2/2003 2:11:04 PM]


Dhatsukamaki5<br />

Making the Knot<br />

1/15/2003<br />

Don Fogg Knives<br />

You can see the cord that has been pulled through in this image. This will help with the process of<br />

making the knot and is a much better method than trying to tie it with the wrap loose or than by pushing<br />

the cord. Pushing can damage the fittings and handle.<br />

http://www.dfoggknives.com/photogallery/Knot/pages/Dhatsukamaki5.htm [11/2/2003 2:11:05 PM]


http://www.dfoggknives.com/sword.htm<br />

Sword Forging Class<br />

It was not without some trials and errors along the way. First, I had chosen 1050 medium carbon steel for<br />

the stock to work with and I was not that familiar with it. There are some good reasons for this choice of<br />

steel, first being that it has a TTT of about 3/4 of a second to get below the nose of the curve and<br />

therefore is very responsive to the clay coating applied to the back of the blade. In my earlier test blades,<br />

I was able to get a clear and dramatic hamon, but was not really happy with the softness of the back. If<br />

not properly hardened, the blades bent too easily, but I began the trip hoping to find the right<br />

combination to overcome that handicap. Another clear advantage of this steel was that it would stop an<br />

edge crack from propagating through the hamon and made the blade virtually indestructible.<br />

Swords have a unique set of requirements and the right choice of steel must take these into account. In<br />

use the edge of the sword is likely to get chipped. Because the edge is under tension, once the integrity of<br />

the edge is broken, it will break quite easily. This can be demonstrated by chipping the edge with another<br />

piece of hardened steel and then striking the spine of the blade over the anvil. In my test pieces, 1050<br />

would stop the crack and despite numerous hard blows to the spine the crack would travel no further than<br />

the hamon. I was also able to place the blade in a vise and bend it 90 degrees at the crack and back<br />

without it breaking. This showed me that the steel was capable of withstanding actual conditions.<br />

Another requirement is that the edge be hard enough to cut through tissue, bone and even metal without<br />

chipping. Edge holding is not as important as it would be in a using knife, but if the edge is too soft it<br />

will not cut cleanly. Again my tests showed that the steel would get hard enough to perform well. I do<br />

not have a Rockwell tester, but from looking at the charts and by checking with a file, I estimated that it<br />

would fall into the 58-60 RC range.<br />

Prior to the class, Chuck and I made several test blades attempting to solve the soft back problem. We<br />

converted one blade to banite and it would support the weight of two men, over six hundred pounds,<br />

without breaking, but we were unable to subsequently reharden the edge without softening the back too<br />

much again and it this condition it would not stop the fracture.<br />

We also tried several methods of flash quenching in water, interrupted quenches, but still ended up with<br />

soft pearlite structure in the back. Finally we reduced the thickness of the clay to a minimum and<br />

quenched in water until all color had left the spine of the blade. This produced a hard edge and tough<br />

back, making a mix of pearlite and martensite in the area under the clay.<br />

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http://www.dfoggknives.com/sword.htm<br />

D. Fogg<br />

The Class<br />

Chuck Patrick<br />

(click image)<br />

We had twelve students with twelve forges going at once. The shop was a converted milking parlor<br />

comprising one long open room with the forges going down each side and steel layout tables in the<br />

center. Each station had a coal forge, anvil, and post vise. There were a few gas forges available, but<br />

most of the students worked with the coal. When all the fires were lit and the hammers were beating on<br />

metal, it was a factory.<br />

Forging swords<br />

I demonstrated first, showing how to shape the point and begin the bevels. My technique involves<br />

working with a heavy hammer, minimum four pounds and preferably larger, and constraining motions by<br />

locking the hammer arm to the side and striking with the forearm and not wrist. Also the arm holding the<br />

work is locked into the side also and the piece is moved by rotating the hips. The hammer face should<br />

strike in the same spot and the work moved. Attention has to be paid to the height of the work piece so<br />

that it is flat on the anvil and the handle is not tipped up or down creating a bend in the blade which will<br />

later have to be straightened. In the manner of the Japanese, I like to wet forge. Wet forging is simply<br />

keeping the anvil face and hammer covered with water while forging. The water does not cool the blade<br />

but helps to blow off the scale and keep it from being beaten into the hot metal. Scale is uncompressible<br />

compared to hot metal and will leave craters in the finished work that can be a problem. I also like to<br />

keep the scaling down by working in a rich fire and at lower heats.<br />

Forging steel is the beginning of the heat treating process and as much care should be given to the<br />

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http://www.dfoggknives.com/sword.htm<br />

temperature of the steel as is given the actual forging. I like to progressively reduce my forging<br />

temperatures until in the finish forging I am working just above and below critical. I feel this goes a long<br />

way to refining the grain of the steel. Care must be taken not to drop too cold or stresses can be built into<br />

the steel and so you should cycle right around critical.<br />

I like to work in small sections, beginning at the point and then forging the bevels by laying the unforged<br />

steel on the anvil and forging into the already forged section. If you try to forge from the already beveled<br />

area to the unforged area, the thicker unforged section will curve the blade every time and create<br />

problems. It is helpful to straighten and true the blade before it returns to the fire so that you don't end up<br />

chasing your lines and can start from a good straight line.<br />

A common mistake is to fail to set the angle on the bevel by raising the bar up from the anvil. You have<br />

to set the angle otherwise the bevel will be establish on the hammered side and remain flat on the reverse.<br />

I found it helpful to work to your weak side first, setting the bevel and then switching sides. I need to<br />

make a sketch of this, but will have to add it later.<br />

The forging proceeds down the blade in three or four inch segments, taking care to watch the lines and<br />

true everything up as you go. I do not attempt to forge to the final edge at this time, but rather want to<br />

establish the bevels and profile for the blade. It is important to forge equally on both sides. If you fail to<br />

do it, the blade will begin to twist because you are drawing more on one side than the other. Also, by<br />

forging equally on both sides balance the stresses on the blade.<br />

Another common problem encountered is keep the blade from curving radically. The old adage about<br />

never beating on the edge is foolishness. You can beat on the edge without creating problems, but<br />

obviously you have to correct for any upsetting. I use the length of the anvil to take the curve out of the<br />

blade laying the section that is curving on the anvil and lightly tapping it back straight. When the edge is<br />

thinner, I use a wooden or rawhide mallet and a wooden block so I won't mar the blade or edge.<br />

When you approach the tang end of the blade it is time to reverse your grip, you will know when it is<br />

time because it is too hot to handle comfortably. It is difficult to continue the bevel line from the forged<br />

section without running into the problem of the thicker section curving the thinner beveled area, at least<br />

for me, so I begin at the far end by forging the tang. On the katana, the bevel is just and extension of the<br />

blade bevel. The only consideration with the tang area is that it be tapered in all directions to the area<br />

where the fittings will seat to the blade. I don't go to great pains to set the notches just rough them in, but<br />

I do spend a considerable amount of time shaping the tang. The tang takes a lot of stress since it is<br />

fulcrum point for the blade and it is wise to make it as strong as possible and forging to shape is the best<br />

start.<br />

Working back from the tang, forge into the blade and join the previously forged area. I like to let the<br />

blade cool at this point so I can handle it comfortably and look at it from all angles. It is amazing how<br />

different steel looks when it is cold from when it is hot. This will give you the opportunity to see where<br />

you need to work and to plan you finish forging.<br />

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http://www.dfoggknives.com/sword.htm<br />

When I begin to final forge the blade, I use the same hammer, but use lighter blows. I am looking to<br />

bring the metal down to the edge, straighten all the lines, crisp up the bevel lines and remove any<br />

hammer blemishes from the rough forging. It is slow and careful work, but will greatly shorten the<br />

finishing time when the blade is cold. The final shape of the blade is straight. The curve will be<br />

established during the hardening process.<br />

As a final step to the forging process, I cycle the whole blade from critical temperature to below 1000F<br />

for at least three times in the air. This thermal cycling will reduce the stresses in the blade and help to<br />

further refine the grain structure before hardening. I do not anneal my steels and if they need to be further<br />

softened I will heat the blade to 1300F and hold for a long soak.<br />

Handwork<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: January 29, 2002.<br />

http://www.dfoggknives.com/sword.htm (4 of 4) [11/2/2003 2:11:07 PM]


http://www.dfoggknives.com/handwork.htm<br />

Handwork<br />

Since there were no real grinders at the Folk School, I decided that we would make these blades by hand.<br />

This was quite a shock to the full time makers who were attached to their belt sanders and to the new<br />

comers who hadn't done much hand work before, but it was also a good learning experience and I felt<br />

essential to really understanding the swords. Too often we rush out to buy power equipment to do a job<br />

missing some of the basics of the craft in the process. I began making <strong>Damascus</strong> by hand with a hand<br />

hammer and continued for several years until I could no longer keep up with the work. This gave me a<br />

feel for the steel and the process and also made me appreciate the final product. <strong>Damascus</strong> has never<br />

been bar stock for me, it remains special and it feel it is because of this early start.<br />

Making and using a sen or scraper<br />

I had requested that the students bring files, stones and paper to the classes, but we took Tuesday<br />

morning to forge out some Japanese style scrapers called sens to use for the stock removal. The sen is<br />

very similar to a draw knife used for wood. The blade has two handles or tangs extending from a flat<br />

center cutting area. The best cutting tools are flat ground on one face and have two cutting edges front<br />

and back. The bevel is quite acute to the edge, but is concave for strength. They are meant to be used<br />

sharp and work with either a push or pull stroke. We made ours up out of leaf spring and oil hardened<br />

them, drawing for 1/2 hr at 325F to take the curse off the hardening. Most of the ones we made worked<br />

quite well, some better than others, but I think that all who gave them a fair try, found it to be a much fast<br />

way of getting the stock off and the flats set than by filing.<br />

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http://www.dfoggknives.com/handwork.htm<br />

Before using the sen or files, we knocked off the scale with rough stones. I had found some cheap oil<br />

stones at a flea market and they worked fine. Knocking the scale off revealed the hammer imperfections<br />

and bevel lines. Once most of the scale was removed, we turned to the scrapers. It is a bit difficult to get<br />

them started since they need to establish their own bite before they really start cutting the metal. I have<br />

pulled a shaving off a katana three inches long with my sen and end up with a pile on the floor when I am<br />

finished shaping the blade. I brought my sen to class and it had sharpened two katana and a tanto before<br />

requiring anything more than a light touch up.<br />

Final shaping of a sword with hand tools is hard<br />

work. I have to work through my impatience and<br />

settle into the rhythm of the tools before I can<br />

appreciate the process. It is very peaceful and<br />

satisfying not to have a motor running every time<br />

you work. I find going back to power tools<br />

stressful after a time of working only with hand<br />

tools. Because the pace is slower, you also get a<br />

chance to thinking about what you are making,<br />

anticipating problems and developing a<br />

connection with the piece instead of simply<br />

producing it.<br />

Often new knifemakers jump into the craft<br />

without ever having made a knife from scratch. I think this is skipping an important learning phase and<br />

doesn't teach respect for what they are doing. The connection with the past and with a time not so caught<br />

up in the frenetic pace of today's life that was appealing to me when I first started forging and I am glad<br />

that I was able to experience and appreciate it.<br />

Files<br />

The scraper sets the lines of the blade and prepares us for the files. Going to the files we begin to refine<br />

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<br />

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<br />

angles to the work. While this may seem contrary to the way a file was designed to cut, it produces a<br />

smooth flat finish and rarely galls. I also use light strokes and do not bear down as hard as I did with the<br />

scraper. I begin with a bastard mill file, though if a lot of material needs to be removed I sometimes use a<br />

magic cut file. After the bastard mill file you can go to a smooth file and this will save you time when<br />

you transition to stones.<br />

After, the lines have been set and are crisp, I begin to work the flat of the bevel to the edge. It is helpful<br />

to sight along the edge and find the center line. Cutting a mini-bevel to establish the center line will give<br />

you a guide when you begin cutting to it along the flat of the blade. This is a common practice when<br />

grinding a blade and it works well with hand tools too.<br />

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http://www.dfoggknives.com/handwork.htm<br />

I should mention at this time about how to secure<br />

the blade while working on it. In my shop, I have<br />

made a sturdy and functional tool for holding<br />

long blades. It is made from a drill press vise to<br />

which I have welded a 1" angle iron roughly 24<br />

inches long. The vise is located in approximately<br />

6" from one end and the angle is welded using<br />

nickel rod for the cast iron and welded to the<br />

inside base and fixed jaw. I pad the surface of the<br />

angle with thin leather and pad the top, moveable<br />

vise jaw with neoprene. When I am working, I<br />

clamp this tool in my bench vise. Using a vise in<br />

a vise is very versatile, sort of vise versa. Sorry.<br />

Anyway, you can then clamp the blade securely<br />

while you are working on it. A bit about vise<br />

safety. A blade clamped in the vise should have<br />

the edge and point behind the back up support. It<br />

is very dangerous and can hurt you badly. Whenever I leave the work piece, I remove the blade from the<br />

vise, every time. For the class at J.C. Campbell, we used 2x4's held in the post vise clamping the blades<br />

down with c clamps.<br />

Finishing<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: December 14, 2001.<br />

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


Finishing<br />

Stones<br />

Finishing<br />

After the blades were hardened, we began to polish with stones. For this I recommended using red brick<br />

EDM polishing stones in 120,220,320,600 grits. I buy my stones from Manhattan Supply Company.<br />

These stones are designed for tool and die makers to clean up molds and dies. They are a synthetic stone<br />

and quite soft, but they cut well and are very useful for cleaning up and polishing blades. I use then on all<br />

my blades and find they are especially useful for cleaning up the transition radius between the flats and<br />

ricasso on western style knife grinds. With price of sheet abrasive going through the roof, stones are a<br />

fine alternative. The stones wear more evenly and cut best when used with a light touch. I add a synthetic<br />

grinding fluid to the water to keep them from loading. I first heard about these stones from Steve Hoel, a<br />

superb folder maker. Steve stones and hand finishes all his blades and achieves amazing tolerances in his<br />

folders. Our objective with the stones is to polish out the file scratches, moving from the coarser grits to<br />

the final polish.<br />

When polishing with either stones or paper, it is best to work at a 45 degree angle to the blade and<br />

reverse the direction with each change of grit. By polishing at different angles you can see the previous<br />

scratches and insure that all of them are removed before moving on. I also like to reverse the direction of<br />

sanding from the bevel and the back so I can clearly see my lines. It is sometimes hard to see all the<br />

scratches and I recommend working in a good light. I have a combination of natural light coming from a<br />

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Finishing<br />

window by my bench, indirect light provided by florescent lights and a direct light source that can be<br />

move to different angles so that you can see the blade in all aspects. It is amazing how those scratches<br />

can hide in the light and one thing you can be sure of is that they will never go away if you miss them.<br />

After I have set down a good 320 grit polish with the stones, I will switch to Japanese style water stones.<br />

I am not a sword polisher and can not justify the expensive natural stones a professional polisher uses,<br />

but am quite satisfied with the synthetic stones now commonly found in woodworkers supply catalogs.<br />

They also come in a variety of grits, but I use only the 400 and 800 grit. These stones need to be soaked<br />

in water before they are ready to use. I prefer to use distilled water and recommend adding a bit of<br />

baking soda to the water to help prevent rusting. I also have found it helpful to buy some plastic trays and<br />

keep each stone in its own tray. This helps prevent contamination by grits from the coarser stones.<br />

The water stones are usually quite large 3x6x1 inches and I have found that they are more easily handled<br />

and that I can get more life from them if I cut them to smaller sizes using a masonry blade in my saw.<br />

The water stones cut very differently than the EDM stones. You will notice the hardened and unhardened<br />

portions of the blade pop out when you begin using these stones. Still alternating the direction of the<br />

strokes for each grit, I get a good 800 grit polish over the entire surface of the blade. These stones wear<br />

quickly and care must be taken to keep them flat so that they won't wash out the bevel lines. Also, the<br />

motion with these stones is to the edge, rounding in to sharpen as you polish. Be very careful not to slip<br />

or you will christen the blade with blood.<br />

Wet or dry paper<br />

After the final water stone is finished, I switch to 600 grit wet or dry paper, wet and sand length wise on<br />

the blade. I cut the sheets into inch or so wide strips and pinch them over a sanding block of hard flat<br />

material. I like Corian blocks because they are not bothered by the water and are flat and thick enough to<br />

get your fingers on. I make my sanding blocks 1 inch wide and around four inches long. The paper is<br />

used wet with considerable force and the paper is rotated frequently as it begins to lose its cutting action.<br />

During this process the edge will begin to polish brighter than the softer back and you should continue to<br />

polish until all the scratches have been removed and the back is beginning to shine. While this process<br />

may seem to take forever the first time you attempt it, it gets much faster with practice.<br />

At this point a light etch will really help pop out the temperline. I use a very dilute wash of ferric chloride<br />

, Archer etchant from Radio Shack, cut 2 to 1 with distilled water. I soak a portion of paper towel and rub<br />

it briskly over the entire blade. I am not trying to etch the blade as much as bring out the temperline. You<br />

have to acquire a touch with the ferric so that you don't darken some areas more than others, but it doesn't<br />

take long to figure out and can really make the temperline jump. When you are satisfied with the etch,<br />

rinse the blade and neutralize the ferric with a spray of ammonia. You can tell the ammonia is working<br />

by the blue green colors it turns up. Rinse again and dry the blade thoroughly.<br />

The next step is 1500 grit wet or dry paper. I get these papers from my local auto parts store, but they are<br />

readily available. Again using this paper wet, go length wise over the entire blade paying more attention<br />

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Finishing<br />

the area above the temperline than below. This will bring the back of the blade into high polish. If you<br />

wipe out the temperline redo with the ferric and repolish.<br />

Paste polish<br />

The final step is to go over the back of the blade with a fine paste polish. Some folks use rubbing<br />

compound on a cloth, but I like to use Simichrome a chrome polish found in most motorcycle shops or<br />

through mail order knife supply catalogs. Continue with the paste until the back of the blade is dark and<br />

all the 1500 grit scratches are wiped out. You can go over the hardened portion, but only lightly to<br />

remove the oxides from the etch. A popular finish on the Japanese blades shows a frosted edge, bright<br />

hamon and darkly polished back. You can approach this look with careful use of the paste polishes.<br />

Another polish used to darken the back of the blade can be made by using red rough buffing compound<br />

and light oil.<br />

Inspection<br />

Now is the time to look over your work. Carefully inspect the blade for areas that need work. It is helpful<br />

to look at the blade in full light and also indirect light, tipping the blade so that the hamon is clearly<br />

visible and so that you can inspect the surface from every angle. If you find an area that needs work go<br />

back to it until it is right.<br />

This blade finish is quite attractive, easy to maintain and a lot less expensive than a traditional polish.<br />

While nothing can duplicate the incredible view into the metal that a well done traditional polish reveals,<br />

this method is attainable by anyone with simple tools and the willingness to work.<br />

Home|Bookstore|Available|Feedback<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: December 14, 2001.<br />

http://www.dfoggknives.com/finishing.htm (3 of 3) [11/2/2003 2:11:09 PM]


Using<br />

Gentlemen's<br />

Knives Bowies and<br />

Fighters<br />

Tactical Utilities<br />

Shivs<br />

<strong>Damascus</strong> Using<br />

The category of using knives is intended to cover all blades that are designed for function first. I do not offer a model line<br />

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<br />

next. What I am showing on these pages are examples that demonstrate the options in finish, configuration and price. All<br />

blades are hand forged, individually heat treated and given equal care. Every knife I make reflects my commitment to<br />

produce the finest knife I am capable of making.<br />

http://www.dfoggknives.com/using.htm [11/2/2003 2:11:10 PM]<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: February 08, 2002.


Gentlemen'sKnives<br />

Click pictures for large images<br />

Gentlemen's Knives<br />

This is a series of knives that are simple, elegant, and refined. They have been forged from high carbon steel round stock and do<br />

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<br />

to a fine point. These are handmade knives and they show the quality that only truly handmade knives possess.<br />

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<br />

site. If you would like to receive email notice when new knives are posted please send me an Email with your name and email<br />

address.<br />

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Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 21, 2002.<br />

http://www.dfoggknives.com/Gentlemen's%20Knives.htm [11/2/2003 2:11:11 PM]


Bloodwood Gent<br />

Bloodwood Gent<br />

This knife is forged from 1095 and selectively hardened. It has a turned ferrule and a bloodwood handle<br />

with brass spacer. The blade is marked with my 24k gold cherry blossom on the handle. It is a very light<br />

and quick blade measuring 5.75 in and 10.25 in overall. It tapers from just over 3/8ths at the ferrule and is<br />

well balanced.<br />

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Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: February 08, 2002.<br />

http://www.dfoggknives.com/bloodwood_gent.htm [11/2/2003 2:11:13 PM]


OssikGent<br />

http://www.dfoggknives.com/OssikGent.htm (1 of 2) [11/2/2003 2:11:14 PM]


OssikGent<br />

Fossil ossik bone handle with nickel silver spacer. This is blade has been hand forged from high carbon<br />

steel, five inch blade and 9.75 inches overall. The blade has been selectively heat treated and hand<br />

finished. It has a unique double ring ferrule and is marked on the handle with my 24k gold cherry blossom<br />

logo.<br />

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Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 21, 2002.<br />

http://www.dfoggknives.com/OssikGent.htm (2 of 2) [11/2/2003 2:11:14 PM]


Mimosa Gent<br />

Mimosa Gent<br />

Hand forged from 1095 high carbon steel, this blade features a ferrule like transition to the handle. It is<br />

10.75" overall and has a blade length of 5.5" to the ferrule. The spacer is brass and the handle is<br />

stabilized mimosa burl. It is pinned and marked with my 24k gold cherry blossom on the handle.<br />

This is a strong, very light knife that tapers from over 3/8ths inch at the ferrule quickly to the tip. I like<br />

this style of knife for its classic lines and because it does not have a bar stock look or feel to it. It would<br />

make a good utility knife or very elegant desk display.<br />

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Don Fogg Custom Knives<br />

http://www.dfoggknives.com/mimosa_gent.htm (1 of 2) [11/2/2003 2:11:16 PM]


Mimosa Gent<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: February 10, 2002.<br />

http://www.dfoggknives.com/mimosa_gent.htm (2 of 2) [11/2/2003 2:11:16 PM]


BirchGent<br />

Birch burl handle stabilized, nickel guard set off this hand forged Gentleman's hunter. The blade is hand forged<br />

high carbon steel, 5 inches to the ferrule and 9.5 inches overall. The blade has been selectively hardened and has<br />

a fine hand rubbed finish. Filed ferrule transition to the handle. The blade is marked on the handle with my 24k<br />

gold cherry blossom. I am offering this knife with leather sheath for $650. If you are interested send me an email<br />

The knife will be sold on a first come, first serve basis. I accept PayPal and money orders. February 8, 2002<br />

SOLD<br />

http://www.dfoggknives.com/BirchGent.htm [11/2/2003 2:11:17 PM]<br />

Back<br />

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Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 21, 2002.


Bowie<br />

Bowie knives are an American knife. Popularized by Jim Bowie and the<br />

legendary sandbar fight, the actual shape and size of the Bowie is a matter of<br />

dispute. There are several styles that are accepted as a Bowie style knife. I have<br />

included photos of my favorite designs.<br />

#1 <strong>Damascus</strong> Bowie: Spirit pattern <strong>Damascus</strong> blade 9", fire blued iron fittings,<br />

gold wire inlay, burled wood handle.<br />

http://www.dfoggknives.com/bowie.htm (1 of 3) [11/2/2003 2:11:19 PM]


Bowie<br />

#2 Carbon <strong>Steel</strong> Bowie: Hand finished carbon steel blade 7", fire blued steel fittings, bronze<br />

accents, wenge wood handle.<br />

http://www.dfoggknives.com/bowie.htm (2 of 3) [11/2/2003 2:11:19 PM]


Bowie<br />

#3 Texture Spear Point Bowie: Forged texture carbon steel blade 8", fire blued<br />

iron fittings, bronze accents, wenge handle.<br />

Stag Bowie | Blue Bowie<br />

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Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: April 04, 2002.<br />

http://www.dfoggknives.com/bowie.htm (3 of 3) [11/2/2003 2:11:19 PM]


Combat Utilities<br />

#1 Tanto style carbon steel blade with textured flats, bronze bolster and pins, rosewood burl handle<br />

scales.<br />

The blade length is 4" and overall is 8". It has been hand polished to show the temperline.<br />

#2 Cord wrapped tanto style carbon steel blade. Clay coat hardened and hand polished to show the<br />

temperline. It comes with a kydex sheath. Blade length 5" overall 9+".<br />

http://www.dfoggknives.com/tacticalutilities.htm (1 of 2) [11/2/2003 2:11:20 PM]


Combat Utilities<br />

#3 Cord wrapped curved tanto style. Clay coat hardened and hand polished to show the temperline. It<br />

comes with a kydex sheath. Blade length 5" overall 9+".<br />

#4 Cord wrapped tanto style. Clay coat hardened and hand polished. Kydex sheath. 7-8 inch blade 12<br />

overall.<br />

This style of knife is very popular right now and I offer a wide range of blade shapes and styles. I have<br />

created a new grouping of knives that I am calling Shivs where the emphasis is on a well forged, carbon<br />

steel blade with temperline. To see examples go to:<br />

Shivs<br />

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Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: June 27, 2001.<br />

http://www.dfoggknives.com/tacticalutilities.htm (2 of 2) [11/2/2003 2:11:20 PM]


Shivs<br />

Shivs<br />

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<br />

patterns involved. They have been forged from 3/4 inch round 1095 high carbon steel and hardened using a clay coating on the<br />

spine.<br />

Shivs are pure blade oriented pieces. The cord wrapped handles are functional, non-slip grips, but the real focus of these knives is<br />

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.<br />

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<br />

please send me an email via the Available form. Thanks.<br />

http://www.dfoggknives.com/shivs.htm [11/2/2003 2:11:21 PM]<br />

Bamboo Shivs<br />

Shiv Gallery<br />

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Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: October 04, 2003.


GidgeeShiv<br />

Gidgee wood scales under wraps, this hand forged integral has a nicely tapered blade with temperline.<br />

http://www.dfoggknives.com/GidgeeShiv.htm [11/2/2003 2:11:22 PM]<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: September 18, 2003.


Shiv dagger hand forged from 1095<br />

Shiv Dagger<br />

Shiv dagger hand forged from 1095, selectively heat treated. The blade is 5", 10" overall and is 3/8ths of and inch<br />

thick at the thickest point. The handle is cord wrapped with a under wrapping of cord. It has a solid pommel that is<br />

slightly pointed.<br />

Shank<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: October 28, 2003.<br />

http://www.dfoggknives.com/shivdag.htm (1 of 2) [11/2/2003 2:11:23 PM]


Shiv dagger hand forged from 1095<br />

http://www.dfoggknives.com/shivdag.htm (2 of 2) [11/2/2003 2:11:23 PM]


Shank<br />

Shank<br />

Double edged boot dagger hand forged from 1095 high carbon steel and selectively hardened and polished to<br />

show hamon. The overall length of the knife is 8.75" with a blade length to the cord of 5". The handle is cord<br />

wrapped and then over wrapped with black lacing. The blade is marked with my 24k gold cherry blosson logo. I<br />

am asking $350 for the knife as is or $400 with utility sheath. Shipping and insurance $15 anywhere CONUS. If<br />

you are interested please EMAIL me. Thanks.<br />

http://www.dfoggknives.com/shank.htm [11/2/2003 2:11:25 PM]<br />

Sold<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: October 18, 2003.


New Page 1<br />

Shiv<br />

Hand forged from 1095 high carbon steel, selectively heat treated, cord wrapped handle with ray skin underlay.<br />

The blade is 5 inches and 10 inches overall, 3/4 inch at widest. Very pointy and sharp, this is a well balanced<br />

knife and comes with a leather sheath. The photo is a composite showing both sides and top view. The blade is<br />

unsigned and will come with a letter for provenance.<br />

If you would like to receive email notice when knives are made available, please contact me via the Available<br />

form and let me know you are interested. Thank you.<br />

http://www.dfoggknives.com/Shiv.htm (1 of 2) [11/2/2003 2:11:26 PM]<br />

Bamboo Shiv<br />

Home|Bookstore|Available|Feedback|Back


New Page 1<br />

http://www.dfoggknives.com/Shiv.htm (2 of 2) [11/2/2003 2:11:26 PM]<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: April 04, 2002.


Bamboo Shiv<br />

Bamboo Shiv<br />

Shiv forged from 1095, selectively heat treated and polished to show hamon. Handle scales are flamed bamboo<br />

with an over wrapping. The blade is marked with a 24k gold cherry blossom under handle wrapping.<br />

http://www.dfoggknives.com/bamboo_shiv.htm [11/2/2003 2:11:28 PM]<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: December 14, 2001.


Bamboo Dagger Shiv<br />

Bamboo Dagger Shiv<br />

Another in the Shiv series. The blade has been hand forged from 1095 1/2" round high carbon steel and<br />

selectively heat treated. The blade is 4", 8.5" overall. The handle scales are flamed bamboo with a cord over<br />

wrap. My 24k gold cherry blossom is mounted on the handle under the wrapping. It comes with a cord wrapped,<br />

wet formed leather sheath.<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: July 10, 2002.<br />

http://www.dfoggknives.com/BambooDagger.htm [11/2/2003 2:11:29 PM]


Bamboo II<br />

Bamboo Shiv<br />

Blade is hand forged from 1095 high carbon steel and selectively heat treated to show a nice hamon. The blade is<br />

4.25 inches to the ricasso and 9 inches overall, 7/8ths inches at the widest point. The handle scales are flamed<br />

bamboo with a tan cord over wrapping. The knife is marked with a 24k gold cherry blossom under the wrapping.<br />

It comes with a wet formed leather scabbard that has been wrapped.<br />

http://www.dfoggknives.com/bambooshiv2.htm [11/2/2003 2:11:30 PM]<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: December 14, 2001.


<strong>Damascus</strong> Hunters<br />

#1 <strong>Damascus</strong> hunting set: <strong>Damascus</strong> spear point Bowie 9" blade, drop point hunter 4" blade, trout and<br />

bird 4" blade, miniature by Paula Easler, all with wrought iron fittings, gold accents, blue fossil walrus<br />

tusk handles. This set was commissioned and the handles were taken from one rare blue fossil ivory<br />

walrus tusk, very rare coloring. Photo by Weyer.<br />

#2 Drop point hunter: <strong>Damascus</strong> blade 4", <strong>Damascus</strong> bolster and pins, gold accents, fossil ossik scales.<br />

http://www.dfoggknives.com/damhunt.htm (1 of 2) [11/2/2003 2:11:32 PM]


<strong>Damascus</strong> Hunters<br />

#3 Drop point hunter: <strong>Damascus</strong> blade 3.4", <strong>Damascus</strong> bolster and pins, gold accents, sambar stag<br />

scales.<br />

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Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: April 04, 2002.<br />

http://www.dfoggknives.com/damhunt.htm (2 of 2) [11/2/2003 2:11:32 PM]


Curious<br />

The pieces on this page are links to work that I like, but doesn't fall into any neat category. Follow the links<br />

http://www.dfoggknives.com/curious.htm [11/2/2003 2:11:33 PM]<br />

for larger images.<br />

Home|Bookstore|Available|Feedback|Back<br />

Don Fogg Custom Knives<br />

Copyright © 1997 Don Fogg Custom Knives. All rights reserved.<br />

Revised: April 04, 2002.

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