HANDMADE KNIVES BY ME IN MY BLADE CAVE*, SYDNEY AUSTRALIA. NO RULES OTHER THAN 'KEEP IT WEIRD'.

It all started without a clue. I never thought knife making would rule me, but it has become an obsession and my joy. Today I am compelled to make knifes - 100%. Just try and stop me.

Having spent my whole working life as a designer, be it graphic, products or spaces, I 've always been driven to create stuff, imagine stuff, invent, pretend. Creating a vision for how something should look, work or connect has always been the gig. However, creating a vision for something is only ever half the story.

Knifemaking, and more specifically bladesmithing, presented an exciting opportunity to shift from imagining to making. A sweaty 40°C, sooty, dirty, with blisters and burns, has become my happy place.  I aim to make as much as possible inhouse in my tiny workshop in the middle of Sydney's Inner west. An end-to-end/soul origin kinda thing.  I'm fascinated by pattern welded steel as much as i'm inspired by the weirdo, surprising things that happen when combining disparate materials under the hammer. Making something that didn't exist before is a thrill.

Of course, I've always made stuff, but knife making somehow brings all my interests, skills and curiousities together in the form of a simple, ubiquitous tool,  providing what only seems like a lifetime worth of pursuit and rabbit holeing. Let's go!

100 PROJECT

It was said to me early in my knifemaking journey, that "you've got make a hundred knives before you make a good one". It was said encouragingly and I'm now sure, having made 100 knives, with great wisdom. It's an idea that stuck with me, and after a few classes at Everleigh Works and a healthy dose of online misinformation, I was away. I decided to make 100 knives, each one adding a new skill or technique. Experientation and failure was build into the process, as was getting weird. There's an incomplete log of the first 100 knives below.

LIMITED EDITIONS. 100 ONLY.

The next chapter in 100 knives is creating limited editions (of 100), handmade and released one by one.

The first edition is a design I've named the WAYO Chef. A little WA (trad Japanese) and little YO (western) - An all-purpose chef knife with a distinctive handle, blade profile and fit-up that features a bolster cap insert inspired by Japanese, hidden tang, dowel handle construction. Each WAYO chef will be of the same design, however be constructed with different materials and cutting geometry, making each WC unique.

The next model is set to launch soon, also limited to 100, so watch this space.

*Not an actual cave.

100

Wayo Chef

The WAYO CHEF is a Japanese-inspired chef knife design that blends minimalistic, traditional Japanese design elements with bold, modern design elements championed by modern Western style chef knives. Limited to 100 knives, each one will be handmade and one of a kind.

99

Twisted Explosion

This one started as a mosaic pattern but was later combined with some mono layers and twisted for a more organic look. The Upset style bolster reveals some untwisted mosaic. + Mun Ebony. + Micarta.

98

Meat Sword

The steel here was a mystery billet gifted to me by Oblivion Blades and I didn't want to waste a millimetre. Forged to a pointy 280mm edged integral, I called this one the 'Meat Sword'. I got lucky with some stunning Pheasantwood for the handle.

97

Voodoo Child

Turkish twist pattern with a twist. Skull and crossbones picture canisters were added to the 4 way before the twists. The distortion of the skulls makes for an ominous image in the pattern.

96

Random Damascus Chef

This approach to integral forging requires a lot of cross peen action to bring the heel down and under the bolster. This can be seen in the stripey distortion of the pattern and I think it adds a nice visual story of how it was made.

95

Edge Bar Nakiri

Stacked 'C's with a Mono Steel edge bar. Keeping on top of the angles and everything straight was the real challenge on this one. The Wa style handle in Dyed Box Elder and Black Micarta seemed just right for this 135mm Nakiri.

94

Full Camo Nakiri

The onions will never see this one coming. The design of this longish, integral Nakiri was all about matching the angle of the butt, heel and tip to give a leaning forward vibe. Cross-cut Sassafras.

93

Scribbly Gum

The fun thing about san-mai construction, is that you can chase unique looking steel for the cladding without compromising the performance of the knife. This experimental canister damascus just had to be paired with some spalted timber for the handle

92

Copper cladding

Inside-out CU-MAI. Putting some thick copper on the outside layers of this blade rather than in between the layers gives it a completely different look. There's some lacewood for the handle and some cast resin for the handle too.

91

Pressed Chevron

220mm integral with Micarta and some super lux Burmese Rosewood. Made some chevron dies to squeeze in the chevron pattern.

90

Twisted Ball Bearing Canister

I made some ball bearing canister damascus and then twisted it to see what would happen. This happened. If you look closely you can see a bunch if animal silhouettes. Or is it just me? Live edge blackbutt timber for the handle.

89

Marbled pattern chubby

This chubby tiny hunter has a hollow recurve grind and harpoon clip, just for shits and giggles. The real motivation behind this knife was to try a new canister idea. The OTT handle is bocote.

88

Bits n' Pieces Canister

The blade is made from leftover random end bits of earlier damascus billets. Randomly combined in a canister with powdered carbon steel, then forged out to this carving knife. Kinda random.

87

The 'Very' Integral

The heavy bolter on this knife focused all the weight to the center of the tool giving it a very balanced and nimble feel. The handle is micarta and dyed burl.

86

Brass Handled Table knife

Stainless blade and brass handle with an etched pattern. Totally not Keith Haring vibes. It was done with a vinyl cut stencil as a resist, then soaked in ferric chloride.

85

Feather

My first feather cut damascus. There was an extraordinary amount of welding, forging, cutting, cleaning and restacking to get the billet to the point where I could slice it down the middle to create this blade. Never again. Well...

84

Stainless Chef with stained veneer handle

Stacked layers of stained veneer were joined by brass dove tail pin to form the chevron that runs the length of this handle. The stainless blade was textured with some purpose made dies on the flypress.

83

The Big Heavy

Pinch bolster design. straight angled transition to round style boster. 250mm edge. It means business.

82

Pretend-egral

The bolsters were forge welded on after the blade layers had been put together. It's an easier, less fun way to do it. The pattern is made with thin layers of pure nickel.

81

Slack twist integral

I got some serious moon surface vibes from the forge scale and the way the dami layers came through. So did my best to flow that idea through to some cartography-type ideas in the handle.

80

Copper bolster

Denty 1084 with a copper jacket and a pinned, squeezed, and brazed bolster. Mackay Cedar for the holdie bit.

79

Spiders Nest

The steel is made from ball bearing canister damascus that was 4-wayed, re-squared then accordion cut to reveal the pattern. The re-square put the welds on the diagonal which helps create DNA style loopy pattern once drawn out.

78

Mosaic

The pattern is a twist on an explosion pattern with all the 'C' billets sliced down the center and flipped so that they all looped in the same direction. The 4-wayed billet was also forged on a slight bias to give a flamey, organic look. Buckeyed Burl. Micarta.

77

Copper Ladder

This copper layup was designed to ensure there was no copper at the cutting edge. The handle fit-up is a play on the dowel construction of a Japanese wa handle however the copper is only a bolster insert

76

Ladder integral with twist edgebar.

Laddered w’s with a twisty edge bar. Deep ferric etch on this one with a high polish. This wavy Tassie Blackwood is fair match for this blade I reckon. Buffalo horn spacer in there too.

75

Low Layer Ladder

Laddered some low layer w’s with an angle grinder for this one. Started out with an integral bolster but things got weird in heat treat so I ‘un-bolstered’ it. Zebrawood. Micarta.

74

End Bit

A single slice from the billet used to make knife #73 was forged out to make this little dude. Chital antler handle with a little brass.

73

Mash-up

A mix of random billets either failed, wobbly, or left over. Once put together, it was tiled out to create a new pattern. Wild, organic, and weird. There's some nice-looking Gidgee for the handle.

71

Mokume-gane layers

Pure nickel and copper cladding. There's mild steel on the outside to keep it together, welded shut to keep the oxygen out, that was textured to transfer some activity through the other layers once pressed. 1084 core steel.

69

Curved Tooth Number Three

A single curve file either side as cladding in an effort to get a more bold and more distinctive curve pattern. The steel powder was added in the side opening of the canister on this one - canoe style.

68

Oyster Dagger

Blunt in all the right places. The handle on this is Murray River ancient Redgum that would have been buried there 5000+ years ago.

67

Denty Chef

Denty 12c27 Stainless Steel. The forging not only helped achieve the full height of the blade, it also helped reduce the weight. A fancy mosaic pin with additional hidden pins in the Coolabah handle. 8” full distal and tapered tang.

66

Twisted Petty

Twisted Damascus with a mix of both bold and fine layers. African Blackwood, copper, resin, and some light mountain ash.‍

65

Curved tooth cladding

Curved tooth files again. This time, stacked flat with a 1084 at the core for the cutting edge with the voids of the files filled with powdered steel when put together in the canister. Integral boster. Spalted maple museum fit handle.

64

Curved Tooth Canister

Forged to shape integral made from curved tooth files stacked in a canister. A single piece of 1084 stacked on the outer edge with the voids being filled with powdered steel. Matchy matchy Zebrawood handle.

63

Multi Copper

Multi copper, 1084, mild. Meh. The Ebony handle on this one was an opportunity to dial in my shaping process.

61

Peen stainless

Using some new full-round dies (large ball bearings) on the flypress to draw this out. The peened texture created a fairly active transition line from the 3 series cladding and the carbon steel core. Buffalo horn and yellow box.

60

Slack Twist

A slack twist of ball-bearing canister and straight layers getting a little weird. There's a hard plunge style transition into a skinny bolster that feels great in a pinch grip. A nice piece of Mytrle keeps it all balanced.

59

Fully Stacked Random Integral

Random damascus integral with stacked handle. Sassafrass, resin, G10 and Black Palm.

58

One Hundred Minute Knife

Clean and weld up steel - 9min (wrought/1084) [forge to temp] Soak, forge weld and draw out - 23min [Cool] Profile, rough grind, stamp - 18min. Thermo cycle (once) and quench 27 min. [Cool]. Flame temper. Grind to belt finish - 20min. Hand sand..... outta time.

57

Copper Splatter Folder

Scrappy folder. Damascus blade. This is a smash together to see how some copper mess might work over forged texture.

56

Boner

Hidden Tang. Gidgee handle. 135mm blade. 175 overall. I’m hoping this will look pretty cool as a patina replaces the etch over time.

54

Kitchen Spear

Stacked straight layers with a mono edge bar for the billet which was forged up to form an integral boster. I harpoon clip on the spine for shits and giggles. The handle is made from some highly figured gidgee.

53

Copper Etch Canister

Petty made from ball bearings with a mono edge bar. The finish is a combination of a heavy copper-contaminated etch, and then a long coffee soak.

52

Full Tang

A fairly conventional full tang design for a kitchen knife. Brass, mosaic pin, and figured gidgee scales secured with hidden pins.

51

Stainless petty

A small peeling and garnishing style knife designed for finessed work, with a spine form that is a comfortable position for both the thumb or inside of the index finger. Taped tang, G10 liners, carbon fibre pins... there's a bit going on.

50

Resin Rando

Playing with different ways to get some activity happening in the layers. This is a combo of different thicknesses of steels in the billet as well as some random 'expressions' with the angle grinder. Resin. Curly Birch.

49

Western Bolster

12c27 Stainless blade with Chital deer antler and brass. The brass bolster has been filed to a western tab shape with the antler filed to match. Peened and brazed pins hold the butt plate in place.

48

Split Canister Harpoon

Random pieces put in a canister with powdered steel were used as the jacket for this integral San Mai. The canister billet was spit down the middle to make the cladding which results in a nice flow of the pattern from one side to the other.

47

Offcuts Canister

Powered 1084 steel and shaped flatbar offcuts. The win here, for me, was the buffalo horn transition from the integral bolster to the sheoke of the handle. Shiny, shiny.

46

Set Ball Bearing Canister

Ball bearing set in holes drilled into flatbar. Welding in a canister with powdered steel.

44

Stacked twists

2 twisted bars, 1 non-twist for the edge bar. Blue dyed burl. There's an of Munch's scream figure in the burl, if you look closely.

43

Random Pattern Hidden Tang

Tasmanian Blackwood and Ebony. The steel for this is an offcut from a billet I made at a class at Everleigh Works with Matt Mewburn. Introduction the damascus. Learned heaps. Matt's a legend.

42

Fugly Slicer

Pushing the limits to what I can achieve with the gear I've got. This is the largest damascus blade to date at 230mm. The idea here was to try and get some geometry of the bolster to flow into the handle facets. Unfortunately, it looks hideous.

41

Chital Antler

Chital spiker and Damascus. Copper too. The antler is completely raw and hasn't been finished in any way. It was all about finding the perfect size and shape of anter for the blade. The polished end on the antler was all deer vs. treetrunk.

40

Twist Carver Hidden Tang

Low-layer twist integral carving knife. The figured Blackwood polished up nicely. The museum fit up of the polished brass was to try and offset the boldness of the pattern in the steel that was bashed out on my tiny flypress.

39

Stainless & Gidgee

Stainless with Gidgee and Buffalo Horn. I chose to use 12c27 stainless for the blade as the heat treatment process is very similar to the carbon steels I've used.

38

Twisted Integral

Random Damascus layers in a twist integral. A mix of bold and fine layers gives it a nice organic look. Skinny, simple, yellowbox handle on this one with some G10 and brass spacers for a little bling.

37

Simple Boner

There's a textured transition at the tang slot for the handle for a nice detail. There's also some tight burl and brass as a spacer in the otherwise simple ebony handle.

36

Harpoon San-Mai

1095. Nickel. Mild. Messmate burl. This is my first proper full sized San-Mai. Although, the real work is all in the handle. I tried for a heavily sculpted grip and freaked out the whole time worried about grinding through to the tang hole. Luckily, all good.

34

Stacked G10

Overdoing the spacers. The thin layers of g10 fitted up so nicely it would be rude not to. This is a mini san-mai test bladethat is fined out with yellowbox burl and blackwood.

33

Single Bevel Petty

This knife is the first step in trying to understand single bevel geometry. Starting small with this faceted grip petty.

32

Contoured Handle

Trying that heavily sculpted handle thing. It feels like you would need to do 100 of these before they feel as comfortable as a more conventional design. Gidgee making me work for it.

31

Drop Point

Cooktown Ironwood. Carbon steel. I don't use hunting knives so the design of this one is guided by a mate that does. Learnt heaps.

30

Stainless Chef

Sheoak. Stainless. Another stab at this style of large kitchen knife. The first was carbon steel and a bit chunkier. This one is a 220mm, flat grind to a zero edge. Overall 340mm. The handle is a bit longer. The plunge line is a bit sharper. A bit better I reckon.

29

Big Stainless Chef

The biggest kitchen knife that I’ve ever made. Or used ;) Now I just need some bigger food and a larger chopping board. Australian Red Gum scales on this one. Carbon fiber as pins to match the liners and some hidden pins down the rest of the tang too

28

Kiritsuke Hamon

Octagonal handle at the front transitioning to hexagonal at the back. This one also has another attempt at hamon. Lots to learn.

26

Stacked Copper & Veneer

Layers of copper, Pimento veneer, and black G4 make up the material for this handle. It's overly heavy, with no help from the copper block securing everything at the butt.

22

Butterfly Knife

Photographing this one outside for the natural light and then this. I was going to call this design ‘the moth’ because of the eyespots. But I’m pretty sure this little guy is a butterfly.

21

Patterned Paring

This went a bit assways. Busted the handle while sanding. Tang way too short and maybe a bit unlucky with the jarrah too. There’s now two brass pins that run the length of it. So it’s probably stronger, and a better weight, than it would have ever been before it busted.

20

Layback Hunter

Differentially hardened full tang with red G10 liners and Gidgee. Recurve and a layback plunge line to make grinding unnecessarily difficult. There's a lot to learn before attempting another hunter.

17

Moth Set

Surprisingly, these over etched, rough looking blades have a really nice soft surface feel to them. The edge on the large one is 180mm and the smaller one is all handle.

15

Coolabah Chef

Coolabah Burl scales. 1075 Carbon steel brass pins. The tang part under the scales is hallowed out to allow the epoxy to get a good grip and also reduce weight.

13

Full Tang

A fancy pin on this one. It's made with very fine brass tube and copper rod put into a larger brass tube. The voids are filled with resin.

11

Sujihiki

Another plasma-cut profile from Thawa Valley forge. This Yanagibi was cut from 1075 carbon steel. It's a single bevel slicer with a handle from Jarrah Burl and copper.

10

Santoku

Plasma cut Santoku slicer dicer. I spent a lot of time filling holes in that burl. #worthit. The polished copper came up nice.

7

Angular

Triangles. Chopped the gidgee at the back end so that I could drill a hole for the tang and only have a small thickness left to put in a tang slot. Messed it up and added copper instead.