“Knapped” Steel Blade Tutorial, posted on The Carving Path Forum, September 19, 2007

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procedures or techniques described herein are dangerous, employ toxic or otherwise hazardous substances, or
may produce toxic or hazardous substances in the process of employment, such as dust or other evolved products.
This information is not intended for use by beginners or those uninformed about the proper use of the equip-
ment, materials or substances described. For heaven’s sake, do be sensible and safe when using these or similar
techniques. If you aren’t absolutely certain you are capable of using this information safely, then ask questions
or seek help and guidance by those who are.

I’ve finally managed to get around to making another “knapped” steel blade, and I’ve documented the
process I use. First, however, when you’re trying to synthesize the features of something in your art, it’s
very important to understand the appearance of that which you’re trying to imitate.

Along that vein, I dug up two examples of knapped stone blades, and also marked out the flake scar shapes
and patterns. One example is of a pressure flaked blade, and the other is of a percussion knapped blade.
Both of these stone blades are by Dr. J. P. Higgins, a friend of mine and expert knapper.

The first example is of a pressure flaked blade, this one in black obsidian (volcanic glass). Pressure flak-
ing is performed by using a hand held tool with a small point and literally pushing a flake off of the stone
with hand force only. Pressure flakes tend to be much smaller than percussion flakes, and appear to be
longer (actually only more narrow and more shallow). This example is an “oblique” technique, and the
flake scars run across the blade at an angle. “Parallel” flakes run across the blade at 90 degrees. Knappers
normally try to make flakes from one side meet up with an opposing flake on the other side.
The above is an example of “percussion” knapping, this blade in a heat-treated jasper. Percussion knap-
ping removes flakes by using a small but dense object to strike flakes from the stone. Percussion flakes are
larger, wider and deeper than pressure flakes. I usually simulate percussion flakes in my steel blade work
- simply because I like the looks better.

Here’s my blade blank, along with a kozuka-like handle in copper (see Ford Hallam’s kozuka making
tutorial on The Carving Path Forum - http://www.thecarvingpath.net/forum/index.php?showtopic=950&h
l=kozuka). This will be a small, narrow blade so the blade blank is from 1/8 of an inch thick 1080 carbon
steel. For larger blades I normally use 3/16 to 1/4 inch thick carbon steel. I previously designed the blade
length and shape, and I’ve rubber-cemented a paper copy onto the steel blank for use as a reference during
grinding and shaping. The blade steel has not been hardened or tempered at this point, the blade portion
is 5 3/4 inches long, 8 3/4 inches overall (not including the handle).
If you examine any knapped stone tool, you’ll find that it is shaped like a lens in cross section. Here I’m
using an angle grinder to grind that rough shape into the blade blank. I’ve clamped the blade into a vise:

NOTE: THIS IS A HAZARDOUS OPERATION WITH THE BLADE STICKING OUT LIKE
THIS. PLEASE USE CAUTION WHILE WORKING WITH IT, AND REMOVE IT FROM THE
VISE ANY TIME YOU ARE GOING TO LEAVE IT UNATTENDED!

Also, with a thin blade like this, you should only grind the portion of the blade nearest to the vise - the
grinder will set up vibrations in the blade if grinding too far from the vise. This can damage the blade and
possibly you as well. When you need to grind farther out on the blade, reposition the blade in the vise.

Cross section of the blade blank should look something like this to start with.
Here is another option for holding the blade for hand filing. I use a standard woodworking clamp fastened
in a bench vise to hold the blade horizontally.

Once again, this is a hazardous position, MAKE CERTAIN ALL THE CHILDREN HAVE BEEN
RUN OUT OF THE SHOP - THIS IS RIGHT AT EYE LEVEL FOR LITTLE PEOPLE!

You’ll only want to work on the portion closest to the clamp because of vibration - this isn’t as much of a
problem on larger, thicker blades, but was definitely a problem with such a long, thin blade as this.

Here’s the blade in the handle, with a rough lens shaped cross-section ground and filed in.
Here’s a closer look - note I’ve left the center of the blade at the original material thickness - we’ll be
needing that thickness shortly.

Here I’m marking in the centerline of the edge portion of the blade. This will provide a reference for how
deep we’ll be grinding in the flake scars, so we can keep the edge reasonably straight and centered. I first
darken in the edge with a Sharpie permanent felt tip marker (dark colors only). Then, I select a diamond
burr size that is nearest to half the blade blank thickness (other types of grinding/sanding burrs will work
as well). I lay the blade blank on a flat surface and then draw the burr along the edge. This will scrape
away part of the Sharpie marker color, leaving a bright mark. Flipping the blade end-for-end I repeat this,
leaving two closely spaced parallel bright lines. The center of the edge is halfway between these two
marks. Repeat for the other side. This is a quick and dirty method of center marking the edge, and works
surprisingly well.
These are the tools I use for grinding in the flake scars, a Foredom flexible shaft grinder and small drum
sanders with medium grit sanding sleeves. I have three sizes, ranging from 1/2 inch diameter up to one
inch diameter. I keep a coffee can of water to cool down the blade as I grind. I hand hold the blade against
the carving station you see the handpiece lying on. I can grind about two flake scars before the blade is
too hot to hold.

NOTE: DUST MASK AND EYE PROTECTION ARE REQUIRED FOR THESE GRINDING OP-
ERATIONS! YOUR EYES WILL BE VERY CLOSE TO HIGH-SPEED GRINDING, AND LOTS
OF VERY FINE SILICA DUST COMES FROM THE SANDING SLEEVE!

I’ll be using the middle sized one (3/4 inch diameter) for this narrow blade, since it will most closely
simulate a short, smallish flake scar. A single sleeve was enough to do this 6 inch long blade by reversing
the sleeve halfway through the grinding. I find I use the far end of the sanding drum the most, leaving the
closest end pretty much untouched, so reversing the sleeve will make it last longer. I also leave the sleeve
a little long on the drum, so I won’t hit the metal end of the sanding drum on the blade during grinding.
The sleeve will also bend at the end slightly, allowing detail grinds using just the end portion.
I’ll also use the very smallest sanding drum when I do the last inch at the tip of the blade where the small-
est flake scars will be.
I’ve drawn in (using the Sharpie permanent felt tip marker) the first few flake scars. I always start at the
base of the blade and work towards the tip. Since the base of the blade is where the blade will meet either
the handle or a blade guard, it is the most critical area in terms of fit and function. I grind in that area first
while I’m fresh and alert.

Here’s the first flake scar ground in. I’m paying special attention to the base of the blade’s edge, where
the blade guard will touch. I want the edge to come to a point there without a flat spot that will look bad
when the blade is installed in the handle. As I grind in the flake scar, I rock the grinder up and down and
move it along some of the length of the sanding drum so the scar is actually curved along the lens shaped
cross-section.

Starting to grind a flake scar (start at the edge, then rock the handle upward cutting in farther towards the
center).

Finishing grinding a flake scar in the center of the blade. Repeat as necessary.

Here’s the second flake scar ground in (on the far side of the blade). I’ve marked in the edges of the scars
with red to show how they overlap in the center of the blade.
Here’s the third flake scar. You can really see the lens-shaped curvature in the third scar in the enlarge-
ment. Also note I’ve left the intersecting edges of the scars high. Don’t forget to turn the blade over and
do the same for the other side. I try to keep both sides of the blade fairly even as I work the flake scars.
There’s a lot of adjusting as I go along, keeping the sharp edge fairly centered. I want a little undulation
in the edge for visual interest, but not too much!

Here’s something to avoid as you work along. As I’ve worked both sides of the blade, I’ve left little flat
spots along the edge of the blade (see the red arrows at the top and bottom enlargements). I want the flake
scars on both sides of the blade to meet in the center forming the sharp edge, but without these flat spots.
I’ll correct this by grinding both meeting scars a little more at the edges, forming a small dip in the edge
when viewed from the top or bottom of the blade.

Here’s a view of the same points from above in the finished blade - note how the edge curves in between
two sharp points. By a little more grinding, I created the curve and eliminated the flat spots so the higher
boundaries between two adjacent flake scars meet as points at the edge.

Here you can see where I removed the flat spots with the extra grinding. However, I don’t want two ad-
jacent flake scars on one face to meet perfectly with two others from the other face of the blade. Notice
How I’ve offset them slightly. Too much perfection doesn’t look right in a blade of this style.
Here I’ve completed 5 rows of flakes, on both faces of the blade. Notice how the flake scars from one side
of the blade “generally” meet up with a matching flake from the other side, but I’ve introduced enough
offsets to make the scar pattern more random and interesting.

At long last, here’s the blade with all the flake scars rough-ground in. I’ve done a little quality control and
checked to make sure there are no flat spots left along the sharp edge, in between adjacent flake scars, or
in the center. Now is the time to fix any problems.
There are still some grinding marks left in the flake scars at this point left by the sanding grit. I’ll go back
and use a Cratex grinding wheel (this one is fine grit, I think - it’s brown, whatever that means) to remove
most of those sanding marks. Now be careful here - you’ve worked hard to keep the edges crisp looking,
don’t polish them off now. I’m not looking for a bright and shiny finish here, just something to remove
all those little parallel sanding marks. This is supposed to have a little bit of a rustic look to it, so don’t go
too crazy making it all perfect.

Here is the finished blade after heat treating and before descaling, slight polishing and bluing. Since this
is such a long and thin blade, I tempered it at 450 degrees F (232 C) so it isn’t quite as hard (and therefore
brittle) as my normal blades (I usually temper simple carbon steel at 425 degrees F - 218 C). I’m not go-
ing to go into the ins and outs of heat treating. Lots to say about that subject, and there are more in depth
discussions available on www.thecarvingpath.net or http://forums.dfoggknives.com.
Here’s the finsihed blade after a slight polishing with buffing compound, followed by a little gun blue
(Birchwood Casey Super Blue). I’ve added the kozuka-like handle (copper) and a fossil ivory guard and
butt cap, just because I thought it needed something. Now all that is left is to add some carved embellish-
ment to the handle and then patinate the copper.

Here are a few other examples of “knapped” style blades, just for reference. Hope this tutorial has been
enjoyable and of use to you.