If you are versed in fine custom knives, by now you might realize how rare it is to find one artist who does it all: designs independently and with clients, makes the blades, heat treats and tempers them, finishes, attaches bolsters or guards, attaches all types of materials including gemstones for the handles, applies inlays and mosaics, hand and machine engraves the finished knives, etches blades and fittings, and makes fine sheaths or stands. Add fine photography of the knives and maintaining this website, and you have an idea what I do. I have one singular goal, to make fine knives, working with clients and their ideas and also independently designing, and improving my skill year after year.

Why embellish knives?

When I look at a finished knife as an artist, I'm often not satisfied. I suppose you could say that is the artist's bane, that his work is never finished, that he merely abandons it at some point. I may be happy with the piece, and indeed, it may look complete to others. But to me, a piece often isn't finished unless it's tastefully embellished. These are, after all, handmade custom knives, so some unique handwork seems necessary, fitting, and appropriate. Handmade custom knives benefit greatly in value and investment quality from fine embellishment. Beyond all these reasons though, is beauty.

Beauty cast upon weapons and tools seems foreign to many Americans. That could be because we are a utilitarian culture, producers of usable, reliable goods, meant to be work-ready, dependable, and tough. I suppose you could say Americans themselves are that way. For whatever your political style, one thing is certain, we're a hard-working society, perhaps the hardest-working in the world. I don't want to get into a geopolitical essay here, but I believe that is one of our greatest attributes: that we work hard and are prolific producers. That could be why we value utility. We want tools that work, vehicles that work, machines, products, and people that work without glitz, glamour, or gaudiness. And somewhere along the way, we've misplaced our interest in beauty.

What is beauty? Is it the gorgeous supermodel spinning around a signpost in Manhattan with a lean figure and pigments accenting her facial details? Is it an oil painting by a master who lived two hundred years ago? Is it a southwestern sunset? One thing about beauty, it is like the ocean, you know it when you see it. And though you may experience beauty in a simple, utilitarian custom knife with clean lines, a rudimentary blade, and flat, polished bolsters, you might wonder what it would be like if it were "finished:" finely detailed with every inspiration the artist could apply.

If beauty isn't reason enough, take a look at it from the descriptive verbiage: customization. Embellishment makes a knife unique, particularly if the embellishment does not exist on any other knife. This makes the knife "one of  a kind," thus increasing its value. Even mass producers of knives see this worth, and that is why they number "limited edition" styles of knives. Sometime in the future, this etched application of a numbered set is supposed to make a knife appreciate. It's a sad attempt to borrow the idea and mimic true customization by master craftsmen. More on that below.

For you super-macho types that only consider blades as weapons and pieces of sharp metal to be torturously utilized in cutting line, scraping metal, stabbing your enemy, or dressing game, this is for you: One of my finest clients, a rather famous person and well-educated historian of war and military engagements looked at one of my fine embellished daggers and said: "It would be an honor to have that shoved in your guts."  There you go, forget beauty, it's about honor among warriors.

I always try to remember that this isn't about society, or value, or culture, or even me. It's about you. So when I take the time and considerable effort to embellish a custom knife, I am thinking about my client or patron, either realized or potential, and his interpretation of what I envision for the knife, sword, or dagger. Yes, the ideas and details are mine, but artistic concepts are shared, that's why they're art; like beauty, they're known when seen.

Back to topics

Is there some history here?

You bet. Perhaps some of the oldest history we know. You've read on this site (I hope) on the FAQ page, the Blades page, the Handles page about the history of man's first tools and weapons. Throughout time, man has embellished his weapons. Some historians, archaeologists, anthropologists, and academics claim that this was an attempt to gain mystical power over his opponents or prey, and these scholars might even attach a religious significance to these markings, carvings, inlays, imagery, and extra work for the artist. I have a somewhat different slant. While not discounting those reasons, I think that too many trained intellectuals seek to find esoteric, superior motives, as their expensive training and great investment of time and study dictates. After all, these are well-trained professionals, and someone has paid for that education. But most of them have never made something with their hands, carried a piece of steel at their side, used it to get them out of a pinch, and wanted to recreate or honor the significance of that experience. Think about it. We value the experiences we have had and will have with an edged weapon or tool, so we impart imagery to it to reflect that. The maker must mark his effort, the user associates the imagery with an event, and that is how embellishment starts. Then, the man who carries the knife, sword, or dagger must relate to others this experience. So the piece is made with a depiction of a great battle, or the image of a fine animal, or his name, or his service dates, or his quest. That way, he can show it to his allies, cohorts, and strangers, and account the experience, brag, or maybe even lie...

And then there are the flourishes. Why would we put plants, and paisley (dolphin and fish imagery), and curves, and flowers, and flowing lines on our tool or weapon? I believe this imagery does several things. Depictions of living things relates the inorganic nature of the cutting tool to its environment and reflects life back into the inanimate edged tool. And the flowing lines reflect motion and the fluid movement capable in the knife, sword, or dagger. So it reflects animate action and curves seen in living things back to the tool made of cold, lifeless steel. It relates the knife to its use or environment. Now, I could get into the genetic need to relate patterns within our mental constructs, perhaps derived on a genetic level through unique human brain processing by illustration and elaboration, but hey, I don't want to sound like a scholar-

Just know this: some of the most valuable historic items in existence today are knives, swords, tools, and weapons, and the most valuable of these are encrusted with jewels and gemstones, elaborately engraved, etched with images, carved, gilded, inlayed and awash in precious metals, and hidden away in the vaults of private collectors and museums.

Back to topics

Why do the best knives have names?

It's true, the best knives have names, not model numbers. A model number is just a number. It's a cold, impersonal registration of one of a long line of repetitive patterns, suggesting a factory has produced all the numbers leading up to the model, and will crank out a never ending list of faceless numbered pieces after that number. Your model numbered knife is somewhere in the monotonous string of digits.

A name personalizes the knife. It adds to the knife's flavor, animation, and style. It defines the knife by purpose or intent. While I try to stay away from knife names like Slasher, or Stabber, there is some mystique in a name like Bulldog or Ladron. Incidentally, the name Bulldog comes from the Bastogne Bulldogs of the 101st Airborne, the Battalion of my son, and their mascot. He designed this fine knife for combat use.  Ladron is named for a mysterious singular mountain in south central New Mexico, and it is the Spanish word for thief. It was a favorite area to hike when I lived nearby, and I would have loved to carry this knife there.

Many of my knives have southwest and specifically New Mexico place names. The Land of Enchantment has a flavor that suits artistic creation, and the place names seem appropriate. I've lived here nearly all my life, and I try to honor those many memories with a fitting name to a matching style of knife.

You've probably noticed that many of my knife names originate in the stars. That is, they are names of stars in the cosmos. Many of these patterns are Gerry Hurst's, left to us when he died. He didn't have names or numbers for them, so in order to catalog them, my wife and I reached for names he probably would have liked, names of the heavens. Then, I carried on the tradition in new designs. and even name some for features and areas on planets in our own solar system. Somehow, cruising through the names, one will stand out as fitting and complimentary for a pattern. Take the name Horrocks. It's a crater system on the moon. The name sounds like a powerful warrior, so how could it be more fitting for a large, heavy, curved combat knife?

Some of the names on my patterns are the names of our grandchildren. I'll bet you can't tell which ones. Hint: no, it's not Draco!

Some names describe the blade shape itself, like Sheepsfoot, or Reverse Paring, or Half Moon Skinner. Other names describe the use of the knife like Game Set: Caping, or Carving. Other names bear the names of the designer who worked with me on the design of the knife, like Wardlow Bowie, Berger, or Gibson Trailhead. You'll also see the designation Magnum on a few of the blades. These are larger evolutions of an original design, for example the Nihal Magnum is a larger combat version of the Nihal.

The neat thing to know is that a name gives a knife personality. We are creatures of words, and words mean things. Our language is more than just a way to share and express, it is a way to characterize, personalize, and animate those objects we use, cherish, and ultimately leave behind.

Back to topics

What is etching?

Let's start simple. Etching is the process of cutting into a material (usually metals) with acid. In the old days, a layer of beeswax and asphaltum (ancient Egypt) was coated onto metal and a burin (or scraper) was used to scrape away the wax, then the metal was dipped or coated in acidic liquid, the exposed metal etched (cut) away. A lot of armor was etched this way, as were countless swords, daggers, halberds, partizans, maces, and other early weapons. Firearms, too were etched. The cut, being rough and irregular, was usually darker than the surrounding metal. Etching shows up best on a mirror finished metal.

Back to topics

How is factory etching, and etching by other knifemakers different than mine?

Today, the process has been industrialized, masking methods improved, and electric current added to the process to aid in etching corrosion-resistant metals. Factories etch imagery in blades, often in "limited edition" motifs, with some animal, event, publicity-driven cause, motion picture promotion, and just about anything they think will sell their knives and knock-off swords. The quality of this etching is downright horrid. The lines are fuzzy, rough, and irregular, and if you pick up a magnifying glass to examine factory etching, your limited edition collector's item might be deposited in the nearest waste receptacle. These pieces are merely promotional items, and you'll have to live two hundred years to cash in on the "investment" you've made.

So you're guessing my etching is different. You're right. I have line resolutions to 1/100,00th of an inch. My etching is clean, crisp, and deep. It never has fuzzy edges, and even if you examine it under a microscope, you'll be impressed. How do I do it? Sorry, my process is proprietary. It took me six hard-earned years to perfect. Several companies and numerous knife makers have begged me to sell the process to them, but I haven't. Maybe when I'm older, but I'm not done playing with it yet... I've got a few elaborate projects, etching of gemstone, and other things I've got to do first.

If you're a collector of knives (and you must be because you're here), you've noticed that nearly all custom knifemakers etch their name or maker's mark into their blades. They use a well-known process sold by a company that advertises in knifemaker magazines, catalogs, and publications. The process is simple, a tiny sponge is soaked in an acidic solution, it's applied over a small plastic mask to the blade, a weak electrical current is applied to accelerate the cutting by the acid. The image is dark, low resolution, very fuzzy around the edge, and not very deep. My makers mark is different. It's extremely small and resolute, with very high detail and deep penetration. Most people need a magnifier to read it. It says: "JaFisher Quality Custom Knives" in script, with two flourishes filling out the logo. The "JaF" is in a butterfly form. My earliest knives just had the butterfly "JaF." The entire logo is .530" wide on most knives, and I've even used a smaller one where space is limited that is .300" wide!

I can etch just about anything in a blade. Military logos, emblems, text detailing names, service dates, important events. I've etched animals, flourishes, faces, foreign language characters. Just about anything you can imagine I can etch permanently into the blade, bolsters, or metal components. I can even etch gemstone handles! What I charge depends on the image. Obviously, high detail graphics will cost more than text. Is the etching deep? You bet. You won't live long enough to polish the deep cuts out of the metal. The only way to remove it is to regrind the blade starting at 40 micron (about 360 grit) and sand the blade back to high polish.

I used to etch bead-blasted blades. I wasn't happy with the fogging and fuzzy quality of the etching, so I now only etch finely sanded or mirror polished blades. This takes advantage of the fine resolution, high detail, and stark contrast of the etching cut.

Back to topics

What about filework?

Once upon a time there was an old word, "jimp" that came from North England and Scotland, meaning neat, handsome, and slender in form. The knife industry designated regular machined cuts or cross-hatched patterns on the back of the spine of the knife to improve traction of the fingertips "jimping." They still call those regular spaced machine made cuts jimping, but the in the custom and handmade knife world has evolved into artistic filework. Jimping may be machine cut by automated slitters, mills, or blades, but filework must be hand-cut.

Jimping, and thus filework, has evolved into a highly decorative art form, sometimes even embraced with engraving and precious metal inlays, differential anodizing, finishing, and bluing. The edge of the spine is its own canvas, and it seems every knife begs for its own style or pattern. The filework on my knives on one blade may take from one to eight hours to complete, each cut performed while bent over a filework vise with proper magnifier. I use all hand files, needle files and micro files (they're the size of a toothpick!) The pattern is laid out worked through a succession of cuts, then worked over again. File cuts do not need to be smoothed or sanded, and sometimes a rough surface is better because it causes a visual contrast with the polished blade. Filework and edgework personalizes a knife, and is an absolute indicator that the knife is uniquely hand and custom made, and still functions to stop the hand or fingers from slipping on a slick spine.

No factory knife will ever imitate fine filework. This particular skill, working on a curved surface down a tapered, narrowing tang can only be achieved by a skilled hand. This makes a fileworked knife unique and increases its value. The quality of the filework is a direct indicator of the value of a custom knife, and you don't have to be a trained appraiser to see this value. The human eye is drawn to patterns and regularity in repeating patterns, balance, and style motifs. Take a good, close, hard look at the filework, and you'll know the quality and thus the value of the knife.

What to look for:        

• Crisp clean design, not washed over by too much buffing.
• Regular, punctuated spacing, a nice design concept.
• No faceting of cuts (where a cut has two angles because of file movement)
• Cuts on both sides matching.
• Depths of cuts matching.
• Convex cuts as well as concave file cuts (it takes most knifemakers a while to get good at this)
• Advanced filework is graduated, that is, it gets smaller in size and spacing as the tapered tang gets smaller in width.
• Filework does not regularly extend deep into the grind at the tip, as this would weaken the tip of the point.
• Filework on fine knives can even extend inside the choil, and often inside milled slots, holes, and blade perforations
• Matching filework on guards, bolster edges or other components where applicable.

I keep a pattern book of my most favorite designs, and I offer three lengths of filework:

1. Blade only: just the spine from the knife tip to the ricasso. Where the thumb or forefinger can get some purchase on the blade.
2. Spine only: from the tip to the butt of the handle, top only.
3. Full: from the tip to the choil, all the way down the blade, around the tang, and ending in an often sculpted choil.

Filework and edgework for folding knives is different. Good filework extends from the blade all around the spacer/spine, and usually includes the liners. Here are some pics of anodized titanium liners and lock spring which are fileworked as well as the blade and spacer/spine. The inside of the knife should also be finished, and the junction of the blade to stop on the spacer/spine should be seamless.

Here are some fileworking process pictures. It may take hours to filework a knife, and I may have a batch of 20 knives to do at once!

Back to topics

What is engraving?

There are two types of engraving I'll address: hand engraving and machine engraving.

Hand engraving is the cutting away of metal with a small tool called a graver, chasing tool, or chisel.  It's done by hand, sometimes with the assist of a hammer, tool, or vacuum/pressure handpiece. No matter the device or assist, it is all controlled by hand. One could write a book on engraving (there are several), and hand engraving is one of the highest value additions to fine custom knives. It has a deep history and kinship with fine weaponry, and there were (and still are) people who spend their full-time work lives only hand-engraving metal, usually jewelry, firearms, and knives. The wide variety of cuts available through a skilled engraver is astounding, ranging from almost imperceptible fine scratches on the surface, to deep, dark background relief, and even penetrating holes through the metal. Hand engraving has character, the style of the engraver is apparent on every surface.

The greatest value brought to already complete custom knives is usually through hand engraving. A good engraver will often charge $150-$300 a square inch (that's one half inch by one half inch)! So to engrave one set (that's both sides of one bolster pair), the engraving alone will cost $200-$800, depending on the size of the bolsters, the material, and the engraving design, and the engraver himself. Often, an attempt is made to improve the value of a fine custom knife by sending it out to an engraver. This usually works, but the engraver often has his own ideas about the artistic style of the piece, and he imparts that flavor to the engraving. So many knives look "gussied up" instead of completed with  a singular, uniform design idea. Then if the knife maker or owner sends it to a scrimshander for scrimshaw, and then a leather worker for a fine sheath, eventually the whole design idea looks broken up and in the worst case, schizophrenic. Now don't get me wrong; there are some fantastic engravers out there that can add thousands of dollars of value to a fine custom knife. The knife owner or maker must determine whether that value is well applied.

 I've seen many knives that look like this and the first impression is a "busy" overall appearance. When you look at the components, each one has it's own merit, but together are overwhelming. How to rectify this: one artist, a singular idea or concept, executing all aspects of the piece, blended into a solid, interesting, and beautiful idea. The added benefit of this is that the sole artist is also responsible for the entire work, therefore accountable. If anything goes wrong, or is substandard, or is questionable, the maker is the source for rectification. Ultimately, when the maker executes all parts of a custom knife and its accoutrements, he then learns and grows at an exponential rate, as consideration is given to specific construction techniques that will be important for those later applied embellishments. And that greater rate of growth, accomplishment, and skill leads not only to a better knife, but a better overall investment for collectors. Remember, the value of a custom knife and collection is directly attributable to the maker, his skill, history, and longevity making knives. Read more about that on my FAQ page, "What is the value of investment knives and why?" here. 

Am I the best engraver? Of course not. I am only the best engraver for my own work, and I strive to learn and improve on every knife or project. It is a lifelong pursuit, continually changing and growing until I stand at the feet of God and my lessons here are finished! Thankfully, He has given me room and time to learn.

Back to topics

Machine engraving is done by machine, a computer driven X-Y-Z axis tool. The piece to be engraved is rigidly clamped or held, and a variety of cutters can be worked against the piece, cutting away metal or scribing a series of lines in the surface. The finest cuts are with a diamond-drag stylus, heavier cuts are with rotary carbide cutters, mills, and burnishers. Burnishers spin and drag across the work, carving a regular surface in it. Good machine engraving takes a skilled computer artist versed in CAD/CAM (computer aided design and computer aided machining) to get good results. There is also a lot to be said for spacing, text and graphic relationships, arrangements, and placement. On knives, you also have to be aware of wear areas and height lost to sharpening. Not much of this work is being done, but I'm happy to be able to accommodate my clients.

Below: an example of fine machine engraving on a mirror finished blued steel nessmuk style skinning blade. A high quality text image, cut deeply into the hardened steel with a diamond sylus.

Below: Another fine example of a custom graphic logo and my new maker's mark on a blued steel mirror finished blade:

Below: an example of machine engraving on the micarta handle of a military combat knife for a sniper in active duty.

There is plenty of bad machine engraving out there, but most people don't notice it. That's probably because it's a relatively new art. It will be an interesting thing to watch in knife making, as there is great potential in this growing skill and technique. I offer any type of machine engraving here in my studio, I can work with any text and graphic images in high resolution and detail.

Back to topics

How is my engraving different?

Every engraver has his own style. That style may be copying other's work, or it may be copying the style of the school where he learned to engrave, or it may be truly unique. I work toward the unique and original. The reason is that there are many fine engravers out there, and most have two style of cuts that they do. These are "bank note" engraving (a deep relief scroll work style), and fine English (a light, tiny scroll style). These are beautiful styles, and that is why they're so popular. The commonality of these two styles also explains why they're accepted so readily in the trade. If you've seen some nice work in either of these motifs, you know what to look for in engraving. I even like to work in these two styles now and again. But they are not the whole stock and trade of engraving. There are literally thousands of types of cuts one can achieve, the designs are boundless.

I try to match my designs to the knife style and flavor. This means experimenting with unusual, non-standard cuts. This also means cutting non-standard materials. For example, I engrave 304 stainless steel. I know of no one else who does this. Why? Because it's 25% chromium and 8% nickel and very, very tough. It snaps off the cutting points of the hardest, toughest gravers with just a few minutes of cutting. It has to be cut with a pneumatic hammer assist machine such as a Gravermeister® or Gravermax®, because the hand alone is not strong enough to control a cut in 304SS. But the cut is bright, incredibly shiny, and unique. I also engrave standard blade and bolster metals, like 440C stainless steel, O-1 tungsten-vanadium alloy, ATS-34 stainless steel, mild steel, nickel silver, sterling silver, and brass. I experiment with a wide variety of styles and cuts, striving for improvement on every piece.

It was once said that "Any style that is not boring is a good style." I agree.

Back to topics

↑ Above: "Rio Salado" fine investment grade fully hand engraved custom knife. Note matching engraving on stainless steel blade and bolsters.

↓Below: Three "Chama" style investment, collector's grade hunting knives. Note individual deep relief engraving on low carbon steel bolsters.

What if I supply my own artwork for engraving the knife?

Though I make custom knives, I seldom accept artwork for the engraving from potential clients. This is different from personalization, such as etching a person's name, a military emblem, a logo, or text on a blade. For that, see "Machine Engraving" and "What is Etching?" above.

What I'm talking about is artwork for hand-engraving submitted like animals, people's faces,scenery, buildings, and any other artwork and graphics that a client may wish to have hand-engraved on a knife. There are a few reasons I don't offer this.

• The chances are very good that the image submitted is copyrighted. This is a serious issue, and I do not take it lightly. There simply is no way to not violate a copyrighted image when representing it on a blade, and all images, including photographs, are protected from the moment of their creation. The only options are written permission from the creator of the image, or to use copyright-free images from historical sources, or to create the image myself.

• I've rarely seen any face, animal, or person's image that when engraved on a piece of metal, actually looks like the image. There are some fine engravers out there, for certain, who can get close, and I know they'll disagree with me, but when an image is carved into metal, it takes on a much different representation than a photograph. A photograph will be many orders of magnitude in greater detail and resolution than an engraving, so to pull off an accurate representation of something like a face is nearly impossible with the limited cuts, lines, and points of hand-engraving. When you see the image in a photograph, from a distance, it might look good, but when you look at it close up, it might not look so good.

• It's not my style. This is my personal preference. I like the bold, striking representational imagery of geometric forms, lines and curves. At some point, I may hand-engrave more graphic images, but currently, it is not in my interest. 

• I also prefer to choose the style, arrangement and form that I engrave on a blade, bolster, or fitting. Call it artistic license if you'd like, but by picking the designs myself, I can match the flavor of the piece overall.

• Personal engraving may devalue the investment potential of a knife. When a knife has a highly personal image engraved on it, usually only the person commissioning the engraving values it. This makes the knife very hard to resell, perhaps impossible depending on the image. The same goes for animals. A knife may be of great value, but when you engrave an elephant, lion, or tiger on the blade or bolster, it may limit the interest in the knife substantially to hunters of big game. Even if the image is not hunting-related, some images might even offend others, like nudes. I want to be able to show my work and display it on the website, for all to see.

Please don't be discouraged. If you insist on having a favorite image engraved on a knife, there are many custom engravers out there who will work with you. You may commission them to engrave any knife, including mine, and that may be a good option for you.

Is embellishment just for metal?

Of course not. I engrave and hand carve gemstone, scrimshaw ivory, tusk, and bone, inlay in wood, execute mosaics of gemstone material, inlay gem in metals, inlay metals in gem, carve the fittings and pins, and apply the same techniques of knife embellishment to sheaths, cases and stands. See pictures and details of those on the "Sheaths" page here, and the "Stands" page here.

Here is a picture of a knife with the original design draft. It has a hand-engraved 440C stainless steel blade, sculpted and inlaid blued steel pommel and guard, and a mosaic inlayed gemstone handle, with guard inlays of carved ivory and pommel inlays of solid opals.

Here is a picture of a knife that has an engraved 304 Stainless Steel bolster, engraved leather sheath, and a matching engraved Petrified Palm Wood Gemstone handle!

For some more pictures and information on even more elaborate knife sculpture and embellishment, please visit the "Museum" grade fine knife sculpture and weaponry page here!

Back to topics

What about millwork or holes in blades?

Millwork refers to any cuts on or through the blade that is done by milling, which includes drilling holes in blades, bolsters or handle areas of the knife. There are several reasons for this practice.

• Weight Reduction: to reduce mass in areas of the knife where the strength of the blade won't be compromised. If a knife design contains a large portion of particularly thick and heavy spine, the knife may be "blade heavy," and feel out of balance. Milling and drilling in this area removes material, and if machined correctly with proper stress reduction in heat treating, conserves strength in the spine. Example here.
• Embellishment: sometimes weight reduction may work with a decorative motif, and often this motif may extend into other parts of the knife such as pin arrangement in the handle or filework and edgework. Sometimes the milling is followed by hand filework for a fully carved effect. Example here.
• Attachment holes: Milling of slots and holes through bolsters and the blade allow for the attachment of rings, thongs, or lanyards for security and accessories. Example here.
• Vacuum breakers: To break the vacuum (really surface tension) when cutting wet material like food, so that it won't stick to the blade.
• Finger rings: for extra security, usually in tactical or combat knives, an arrangement of one or more finger rings is milled in the handle. The edges are dressed for comfort, and sized for easy insertion and removal. The largest finger or thumb is usually well under one inch in diameter, so one inch seems to be a good, comfortable size.  Knife users have mixed feelings about finger rings, as the rings could remove a finger if the blade was somehow ripped from the hand. My view is that in tactical knives you do not want the knife to leave the hand, period, and if it did, it might end up in the enemy's hand. I can see no circumstance other than heavy mechanical equipment where this might be a problem. And if you have to hang your weigh by the knife blade, things have gone to hell already, and perhaps you'd better hang on! I assume no liability for finger rings, after all, these are edged weapons and tools.
• Mechanical slots: These are necessary in mechanical knives such as folders, drop blades, and slip blades where the shape of the milling is designed into the blade arrangement for movement, locking, and accessory use. Example here.
• Cannelures or Fullers: These are milled areas usually found in the spine of blades, particularly swords and long daggers. Their purpose is to remove excess weight from the blade while preserving strength. They are NOT "Blood Grooves" as most Americans call them. The milling makes an "I beam" type of cross section in the blade, which limits lateral flexion (the side to side bending of a flat blade). Example here.
• Sinister uses: In the days of old, milled cuts and drilled holes in the blade were used to hold poisons of the time, causing infections and suffering to those cut by the blades. I do not recommend this practice... ordinarily. Example here.

I offer all milled options in a blade. If it can be done, I've got the skills and equipment to do it. Milled slots with fileworked edges, complex crosses, waving curved designs through the blade, carving, geometric arrangements, and precision attachment holes: all these are available. Since I a responsible for all stress relieving, heat treating, hardening, and tempering, I'll make sure the milled angles, corners, edges, and shapes do not cause stress risers in the tool steel.

Back to topics

What about anodizing titanium?

Titanium is used mainly in folding knives, for springs and liners. These are the necessary parts that support the handle scales, bolsters, and pivots, essentially bonding the knife into a solid piece. Titanium is used because it is strong and lightweight, essential when the handle of a folding knife must be larger than the blade in order for the blade to fit inside it. Titanium is tough, of medium hardness, springy, and very wear resistant. It supports fine filework, and accommodates threads and milling well. Another feature of titanium (I use 6AL4V) is the ability for the surface to be anodized. Anodization is a treatment where the surface is oxidized to a passive nature, and the process creates a significant oxide film thickness to cause optical interference, or colors. The treatment is very thick as treatments go, in the order of up to .2 microns. It is not easily worn away, and maintains the color for decades, perhaps indefinitely.

Though heat may be used to oxidize the surface of titanium, I use a more controlled chemical method. The method consists of cleaning, etching, pickling, and a bright dip, followed by the chemical anodizing treatment. This may be done several times, the colors can be contrasted on different parts of the titanium, or graduated for interesting effects. There is a lot to it, like masking, finishing, electric power supply, and chemistry, and a picture of the set up for the basic process is below:

Back to topics