islandblacksmith

Some bits of footage in the museum forge on a cool morning following the process of making a habaki (blade collar) for an antique sword recently brought from Japan. This project was completed by a young blacksmith the next day after returning home. more info: https://islandblacksmith.ca/ full process of making habaki: https://rumble.com/v2fcq4d-tldw-21-making-a-tanto-habaki-with-simple-tools.html

In a forge on Vancouver Island, reclaimed steel is turned into handcrafted tanto. Directed, Photographed, and Edited by Trevor Komori Location Sound: Sean Brouwer B Camera Operator: Liam Leyland Music Composed by Kurtis So Production Assistants: Vivian Hu & Judy Zheng still images: https://islandblacksmith.ca/2018/08/short-film-release-%E6%B8%A9%E6%95%85%E7%9F%A5%E6%96%B0/ behind the scenes: https://islandblacksmith.ca/2017/08/komorisan-back-in-the-forge/ forging the sunnobi tanto: https://islandblacksmith.ca/2018/03/utsushi-study-of-a-sunnobi-tanto/ making the tanto mounting: https://islandblacksmith.ca/2017/08/on-ko-chi-shin-tanto/

In a forge on Vancouver Island, reclaimed steel is turned into handcrafted tanto. watch the full video here: https://islandblacksmith.ca/2018/08/film-study-the-old-to-know-the-new/ Directed, Photographed, and Edited by Trevor Komori Location Sound: Sean Brouwer B Camera Operator: Liam Leyland Music Composed by Kurtis So Production Assistants: Vivian Hu & Judy Zheng still images: https://islandblacksmith.ca/2018/08/short-film-release-%E6%B8%A9%E6%95%85%E7%9F%A5%E6%96%B0/ behind the scenes: https://islandblacksmith.ca/2017/08/komorisan-back-in-the-forge/ forging the sunnobi tanto: https://islandblacksmith.ca/2018/03/utsushi-study-of-a-sunnobi-tanto/ making the tanto mounting: https://islandblacksmith.ca/2017/08/on-ko-chi-shin-tanto/

In a forge on Vancouver Island, reclaimed steel is turned into handcrafted tanto. watch the full video here: https://islandblacksmith.ca/2018/08/film-study-the-old-to-know-the-new/ Directed, Photographed, and Edited by Trevor Komori Location Sound: Sean Brouwer B Camera Operator: Liam Leyland Music Composed by Kurtis So Production Assistants: Vivian Hu & Judy Zheng still images: https://islandblacksmith.ca/2018/08/short-film-release-%E6%B8%A9%E6%95%85%E7%9F%A5%E6%96%B0/ behind the scenes: https://islandblacksmith.ca/2017/08/komorisan-back-in-the-forge/ forging the sunnobi tanto: https://islandblacksmith.ca/2018/03/utsushi-study-of-a-sunnobi-tanto/ making the tanto mounting: https://islandblacksmith.ca/2017/08/on-ko-chi-shin-tanto/

In a forge on Vancouver Island, reclaimed steel is turned into handcrafted tanto. watch the full video here: https://islandblacksmith.ca/2018/08/film-study-the-old-to-know-the-new/ Directed, Photographed, and Edited by Trevor Komori Location Sound: Sean Brouwer B Camera Operator: Liam Leyland Music Composed by Kurtis So Production Assistants: Vivian Hu & Judy Zheng still images: https://islandblacksmith.ca/2018/08/short-film-release-%E6%B8%A9%E6%95%85%E7%9F%A5%E6%96%B0/ behind the scenes: https://islandblacksmith.ca/2017/08/komorisan-back-in-the-forge/ forging the sunnobi tanto: https://islandblacksmith.ca/2018/03/utsushi-study-of-a-sunnobi-tanto/ making the tanto mounting: https://islandblacksmith.ca/2017/08/on-ko-chi-shin-tanto/

Here are some excerpts of my segment from Soul of Steel which includes footage from the forge as well as an interview. Thanks to Rolfe and the Todd who came all the way out to the forest and did a great job of sharing the process and vibe of the workshop with folks in Calgary. Read more about the visit here: http://islandblacksmith.ca/2015/08/a-canadian-media-visit-to-the-forge/

Reclaimed antique steel is forged into a kotanto as part of the Satoyama Project. http://islandblacksmith.ca​ Directed, Photographed, and Edited by Jordan Wende: https://www.instagram.com/jordanwende/ Photo essay: http://islandblacksmith.ca/2020/07/photo-essay-forging-a-knife/ Finished kotanto: http://islandblacksmith.ca/2021/02/forest-kotanto-with-antique-fittings/ Knife in the intro: http://islandblacksmith.ca/2020/07/kominka-forest-kotanto/

Drying the earthen kiln insulation, preparing the floor, and loading kiln in preparation for making a batch of charcoal. The first fire is relatively small and is intended to dry out some of the moisture in the clay/earth around the kiln remaining after construction and before winter. After cooling and cleaning it out, a "floor" is created above the steel floor slats using thin boards and brown charcoal from previous charcoal runs. Then the wood (mostly Pine) is split and stacked vertically from back to front leaving only a small airspace at the top. The front will be filled with kindling and bark and then the opening closed up and mostly sealed before lighting. Controlling the air intake slows down the burn and prevents loss/crumbling/cracking of charcoal wood. the kiln: http://islandblacksmith.ca/2019/11/charcoal-kiln-v-4-0/ making charcoal: http://islandblacksmith.ca/how-charcoal-is-made/

**WARNING: This is the longer process version intended for serious students of the forge. saya-nomi (scabbard chisel) forged from reclaimed carbon steel harrow tooth, magnolia handle. more on carving saya (scabbards): http://islandblacksmith.ca/process/carving-saya-scabbard/ Saya-nomi (鞘鑿) are a type of Japanese chisel with several unique features designed for carving the inside of a wooden scabbard. Hand forged from a reclaimed harrow tooth, the elongated neck is slightly curved for clearance and the bottom and side corners are slightly rounded to facilitate cutting inside a concave surface without leaving corner marks. A scrap of magnolia makes a clean, simple handle for use as a push chisel. knife making process: http://islandblacksmith.ca/process/ workshop tour: http://islandblacksmith.ca/forge/

**WARNING: This is the longer process version intended for serious students of the forge. Traditional clay/charcoal/water yaki-ire, differential hardening a classical tanto style kotanto blade forged from reclaimed carbon steel. more on yaki-ire... Process of Clay Tempering a Tanto Blade http://islandblacksmith.ca/process/yaki-ire-clay-tempering/ Once the steel is shaped as much as possible in its softer state, it is coated with a thin layer of clay along the edge and a thicker layer on the body and spine. During the hardening process, the split second difference in cooling time caused by the clay layer creates two different hardness areas in the same piece of steel. The edge cools faster and forms a very hard steel structure called martensite while the body cools slower and forms a very tough steel structure made of ferrite and pearlite. The boundary between these two areas is called hamon and is commonly seen as a frosted wavy line down the length of a polished sword blade. The clay is a mixture of approximately thirds of natural clay, crushed charcoal, and polishing stone powder. Each smith has their own recipe but the basics are the same...natural clay: to make it stick, polishing stone powder: to keep it from shrinking and cracking when it dries, and charcoal powder: to keep it from cracking when it is heated...knowing these properties allows a smith to make adjustments as needed. The spine and body of the blade are coated with a thin layer of the clay mixture to insulate and slow down the cooling while the edge and tip are coated in a very thin slip layer which actually cools faster than bare steel and protects from oxidation while heating. When the clay is fully dry, a charcoal fire is used to heat the steel slowly and evenly, taking care not to overheat any part of it and working in the dark for accurate colour viewing. First the spine is heated to bring the whole blade to just below temperature, and then it is flipped over to focus heat on the edge. When the entire edge is at the correct temperature, it is plunged into a hot water bath, edge down, and held until cool (yaki-ire). The tang is not heated or hardened and can be drilled later for the mekugi-ana. The hardness is checked with a file and the process repeated if necessary. After hardening, the clay is removed and the steel is heated slightly again to remove some of the internal stresses (yaki-modoshi). Once this process is finished, and if the steel survives, the blade is ready for Togi, shaping and hand polishing using waterstones. http://islandblacksmith.ca/process/

**WARNING: This is the longer process version intended for serious students of knifemaking. Watch the intro of lighting the forge here: https://youtu.be/jr4p5DCy4M0 ***more info below... First lighting of the newly rebuilt charcoal forge in the island kajiba, more info on the project here: http://islandblacksmith.ca/tag/island-forge/ ...followed by stamping the tang and then hand forging and filing a classical tanto style habaki, silver soldered in the charcoal forge and closely based on an antique Edo period habaki. Polishing and patinating will be done after the saya has been carved. The bending of the jacket is missing as the camera battery had died, that stage is shown in this video: https://www.youtube.com/watch?v=gyCsxnXKi0o Watch the machigane area and you can see the solder begin to melt and flow around 26:52 until it is pulled out to stop the heating. The fuigo allows very precise air mix and heat control. When soldering habaki this way, some points are: ensuring the fit is very tight (solder does not fill gaps), cleaning the metal surfaces well to remove oxide and contaminants, using a flux to prevent oxidation while heating (in this case borax and water), forming a charcoal "oven" away from the direct air blast, controlling the airflow for a reducing environment, heating just to the flow temperature, removing from the heat immediately, allowing to slowly cool in air next to the coals, pickling off any remaining flux in vinegar before fitting to the blade. Note that silver solder (more accurately known as silver brazing or silver welding) is not at all related to electronics or plumbing solder, it is made from mostly silver and copper and requires far more heat and a different flux. In this technique the filler material actually forms a new alloy with the parent metals (similar to welding). It is more difficult to achieve but the results are very different and far stronger than lead or tin based solder joints. The wire that binds the parts together, provides tension while heating, and forms the stand is a scrap piece of rusted steel wire, the oxide scale or rust helps prevent the solder from sticking and making it one with the habaki. Machigane info: http://islandblacksmith.ca/2014/10/classical-tanto-construction-habaki-%25E3%2581%25AE-machigane/ Making habaki: http://islandblacksmith.ca/process/making-habaki/ Tanto geometry: http://islandblacksmith.ca/tag/tanto-geometry/ learn more about the historical knifemaking process: http://islandblacksmith.ca/process/

first lighting of the newly rebuilt charcoal forge in the island kajiba, more info on the project here: http://islandblacksmith.ca/tag/island-forge/ watch the longer edit of making a habaki utsushi here: https://youtu.be/peCVQa4N93A more about building charcoal forges and fuigo here: https://www.youtube.com/playlist?list=PLBJ5AOs7cMwCSinW7foaiHFZKbZDkasQL

Serious students of the forge can watch the full process version here: https://youtu.be/oH5B7n7NtbE One of the most technical challenges of this project was creating the ireko saya (入れ子鞘, nesting scabbard) lining within the tight constraints offered by the original block of wood. A refined detail that is normally hidden from view, the ireko saya protects the blade from the hardwood. A focal point for the koshirae is the unique antler crown kurikata which is reminiscent of a mushroom contrasting against the dark wood of a tree. Furusato (故郷, pronounced “foo-roo-sah-toe”) means home place or hometown and contains the ideas of being rooted or grounded wherever one may sojourn, and a confidence and longing for return. This tanto has a simple and elegant form with a natural and humble mounting that reflects the rustic satoyama lifestyle and suits the aesthetics of the way of tea. The wood was a discarded scrap that was just barely large enough for this project and comes from the Congo/Zaire. The block of wood sat for several years waiting for the right blade to make the best and most use of it. This precious dark chocolate coloured hardwood is locally called Tshikalakala or Dikela, meaning turn around or circle back. Materials for the wabisabi aikuchi style koshirae mounting include Tshikalakala (Wenge) wood for the kataki tsuka and saya, Hounoki (Japanese Magnolia) wood and cow horn for the ireko saya, copper bus bar for the habaki, buffalo horn for the mekugi, and pieces of shed antler for the kurikata and tsunakuchi. The tsuka and saya are finished in a thin layer of kijiro fukiurushi (wiped lacquer) made from natural source urushi lacquer. "When difficulties come, I remember my home place…Someday I shall fulfill my task. And, then, return to my home place. To the green mountains and clear rivers of my home." -- Furusato, Takano Tatsuyuki More about this project: http://islandblacksmith.ca/2019/08/furusato-tanto/

**WARNING: This is the longer process version intended for serious students of knifemaking. Watch the overview edit here: https://youtu.be/gr8xqmzM5iM One of the most technical challenges of this project was creating the ireko saya (入れ子鞘, nesting scabbard) lining within the tight constraints offered by the original block of wood. A refined detail that is normally hidden from view, the ireko saya protects the blade from the hardwood. A focal point for the koshirae is the unique antler crown kurikata which is reminiscent of a mushroom contrasting against the dark wood of a tree. Furusato (故郷, pronounced “foo-roo-sah-toe”) means home place or hometown and contains the ideas of being rooted or grounded wherever one may sojourn, and a confidence and longing for return. This tanto has a simple and elegant form with a natural and humble mounting that reflects the rustic satoyama lifestyle and suits the aesthetics of the way of tea. The wood was a discarded scrap that was just barely large enough for this project and comes from the Congo/Zaire. The block of wood sat for several years waiting for the right blade to make the best and most use of it. This precious dark chocolate coloured hardwood is locally called Tshikalakala or Dikela, meaning turn around or circle back. Materials for the wabisabi aikuchi style koshirae mounting include Tshikalakala (Wenge) wood for the kataki tsuka and saya, Hounoki (Japanese Magnolia) wood and cow horn for the ireko saya, copper bus bar for the habaki, buffalo horn for the mekugi, and pieces of shed antler for the kurikata and tsunakuchi. The tsuka and saya are finished in a thin layer of kijiro fukiurushi (wiped lacquer) made from natural source urushi lacquer. "When difficulties come, I remember my home place…Someday I shall fulfill my task. And, then, return to my home place. To the green mountains and clear rivers of my home." -- Furusato, Takano Tatsuyuki More about this project: http://islandblacksmith.ca/2019/08/furusato-tanto/

Making-of and photos here: http://islandblacksmith.ca/2019/07/inome-tanto/ The inome (pronounced “ee-no-may”, 猪の目, eye of the boar) name comes from the pierced heart-shape designs on the decorative o-seppa (washers) on either side of the tsuba (handguard). This lovely motif is ubiquitous in Japan, seen often in architecture, furniture, and sword mountings. In this context, the inome symbol conveys the idea of the always forward-moving wild boar of Japan’s forests and mountains, never giving up or retreating. This tanto was forged from an antique horse-drawn carriage spring in 2016, was used at several demos as an example of the forged surface as it comes out of the fire, made a cameo in a short film in 2017 as one of the filing stages, was finished with geometry inspired by a visit to Japan in 2018, and is the first of my blades to incorporate antique sword parts in its mounting (there are 4, the rest is newly crafted for this piece). The blade began as a reclaimed carriage spring and was hand forged in a charcoal fire, smoothed with files and a sen scraper, differentially hardened using traditional water quench yaki-ire, and polished by hand with natural Japanese water stones. This tanto consists of ten separate components that began as twenty-two individual pieces, crafted and finished entirely with hand tools and traditional techniques. Materials for the chisagatana style koshirae mounting include Japanese hounoki wood for the handle and scabbard, copper bus bar for the habaki, reclaimed brass doorplate for a seppa, buffalo horn for the mekugi and kurikata, and an iron spike salvaged from thirty feet under the Pacific for the tsuba. The centerpiece of the mounting comes from an outdoor antique market in Kyoto, a gold-accented Edo-era fuchi made from nanako-ji (魚子地, fish roe) textured shakudo (a traditional alloy of gold, silver, and copper). The tsuba sits between two Showa-era zouheitou (officer’s sword) o-seppa with pierced inome (猪の目, eye of the boar) motifs. The saya is finished in black sabi-nuri (rust texture) style ishime-ji (stone surface) made from natural source urushi lacquer and ground tea leaves, and the koiguchi band is also antique. Blade has a hira-zukuri profile, suguha hamon with artifact on the omote, an iori mune, and an ubuha (unsharpened portion near the hamachi). The blade is 8.75″ long, overall length is just under 13.5″, and the overall length of the koshirae is just over 15″. Specifications 長さ/刃長 Nagasa: 7 sun 3 bu 5 rin (222mm) 元幅 Motohaba: 9 bu (27mm) 重ね/元重 Motokasane: 2 bu 3 rin (7mm) 反り Sori: uchizori 中心/茎 Nakago: 3 sun 6 bu (109mm) 柄長 Tsuka: 3 sun 2 bu 5 rin (93mm) 拵全長 Koshirae: 12 sun 6 bu (382mm) 形 Katachi: hira-zukuri, iori-mune 刃文 Hamon: suguha, with ubuha 帽子/鋩子 Boshi: ko-maru 中心/茎 Nakago: futsu, kuri-jiri, one mekugi-ana, signed near the tip 銘 Mei: hot stamped katabami-ken kamon 拵 Koshirae: chisagatana, issaku (with the addition of four antique parts) Material: Reclaimed carriage spring steel, Edo-period gold and shakudo nanako fuchi, antique brass koiguchi and Showa-era zouheitou o-seppa, ocean-salvaged iron spike, copper bus bar, brass doorplate, buffalo horn, Hounoki, leather, natural urushi and tea leaves, antique silk cord

A look at some precision cut steel tanto kata based on historical japanese swords from 1200s-1500s...order a set of kata here: http://soulsmithing.com/product-category/kata/ A kata is a pattern or form used for appreciation, study, or for reference when creating an utsushi blade. The exercise of accurately making kata based on the work of historical smiths is an excellent way to train the eyes, mind, and body to create proper tanto forms. The most important aspect of making kata is to work carefully to be as true to the original lines as possible. Apprentices were asked to make as many kata as they could: these are eventually used for sword making, can be kept for a lifetime for reference and study, and their very making is a good opportunity for practice. Learn about making your own here: http://islandblacksmith.ca/2019/07/making-tanto-kata/

**WARNING: This is the longer process version intended for serious students of knifemaking. Installing/repairing the higuchi (tuyere) in a traditional brick construction Japanese swordsmith forge. The fire clay is a historical brasque recipe consisting of 6:2 charcoal powder/fines to natural clay, mixed with just enough water to stick together well. Tuyere is formed from the same clay, the forge must be allowed to dry fully before lighting or steam will crack the clay. More of the forge building project here: http://islandblacksmith.ca/tag/island-forge/ and more forge projects here: https://www.youtube.com/playlist?list=PLBJ5AOs7cMwCSinW7foaiHFZKbZDkasQL

**WARNING: This is the longer process version intended for serious students of knifemaking. Carving a cypress base and repairing a broken natural Japanese waterstone using urushi lacquer. The stone is a Kumamoto binsui-do, approximately #700, from Monotaro in Japan. Urushi is from Watanabe~san in Tokyo: http://urushi-watanabe.net/

Can we just take a moment? featuring stones, moss, rain, bamboo, birds, cypress, and a frog... photos of the island forge kajiba (鍛冶場, forge building) project here: Part 1 – Foundation http://islandblacksmith.ca/2019/02/island-forge-part-1-foundation/ Part 2 – Timber Frame http://islandblacksmith.ca/2019/02/island-forge-part-2-timber-frame/ Part 3 – Roof http://islandblacksmith.ca/2019/02/island-forge-part-3-roof/ Part 4 – Yakisugi http://islandblacksmith.ca/2019/03/island-forge-part-4-yakisugi/ Part 5 – Tsuchikabe http://islandblacksmith.ca/2019/04/island-forge-part-5-tsuchikabe/ ...three days ago this garden was just a muddy thistle patch...back to work, time is very short!

Building two examples of quick and simple diy sideblast charcoal forges with found and reclaimed materials to demonstrate that lack of equipment and materials should not be a major obstacle. See more in-depth forge builds on the bladesmith forge building playlist: https://www.youtube.com/playlist?list=PLBJ5AOs7cMwCSinW7foaiHFZKbZDkasQL Ways to improve these concepts include: mixing copious amounts of chopped straw or charcoal powder into the clay to make it refractory, using high temperature kiln bricks, making the walls higher and longer, using the clay to narrow the tuyere to about 1sun/3cm right where it enters at the bottom side of the forge, putting a barrier up to protect the fuigo (and allowing a shorter pipe), allowing the clay to dry before lighting the forge, etc... Note that if the pipe is galvanized best fit with another section of non-galvanized or at least file off the last 2 inches of zinc in case your tuyere accidentally gets heated to an orange yellow heat and burns off the zinc causing toxic fumes... Full traditional swordsmith forge build documentation here: http://islandblacksmith.ca/2017/01/building-traditional-swordsmith-forge/ Smaller tanto forge build here: http://islandblacksmith.ca/2017/04/building-a-charcoal-tanto-forge/ Fuigo box bellows: https://www.youtube.com/watch?v=3Ecetg1B7y4&t=0s&index=16&list=PLBJ5AOs7cMwCSinW7foaiHFZKbZDkasQL

A look at the inside operation of a prototype fuigo (鞴) box bellows...two intake valves, two manifold valves, one piston, one output, double action...more about fuigo here: http://islandblacksmith.ca/2015/06/why-you-need-a-swordsmiths-fuigo-box-bellows/ valves: http://islandblacksmith.ca/2015/11/making-valves-for-fuigo-box-bellows/ fuigo archive: http://islandblacksmith.ca/tag/fuigo/

In a forge on Vancouver Island, reclaimed steel is turned into tanto. http://islandblacksmith.ca Directed, Photographed, and Edited by Trevor Komori: http://trevorkomori.com/ Location Sound: Sean Brouwer B Camera Operator: Liam Leyland Music Composed by Kurtis So: http://kurtisso.com/ Production Assistants: Vivian Hu & Judy Zheng behind the scenes: http://islandblacksmith.ca/2017/08/komorisan-back-in-the-forge/ still images: http://islandblacksmith.ca/2018/08/short-film-release-%E6%B8%A9%E6%95%85%E7%9F%A5%E6%96%B0/ photos and process of making this tanto: http://islandblacksmith.ca/2017/08/on-ko-chi-shin-tanto/

Simple technology for pouring water on the anvil, made from a piece of bamboo. Forging with a thin film of water on the anvil and hammer prevents forge scale or oxide from being hammered into the surface of the steel. The hot steel instantly vaporizes the water and the resulting steam explosion blows the scale off of the work, keeping it clean as it is worked. This type of bamboo scoop (take no mizusashi) is a traditional style tool for evenly applying water to the surface of the anvil or the hot steel. Unlike steel, forge scale does not move or compress at forging temperatures. If a piece of scale is hammered into the surface of a blade it creates a depression and the entire surface of the blade will have to be filed down to remove the scale and pitting later. Water forging is one way to keep the blade clean and smooth and reduce work and waste during finishing and polishing. Swordsmiths usually keep a bucket of water right next to the anvil to supply water to the surface and to periodically dip the hammer into while working. This is about the quickest and most useful traditional tool for controlled application of water, taking only minutes to create from natural materials. The best starting point is structural/timber bamboo that is about two inches inside diameter, is not cracked, and has at least one or two nodes or joints in it. read more about the process: http://islandblacksmith.ca/2015/07/making-a-bamboo-water-scoop-for-water-forging/

Yakiire - Differential hardening a classical style sunnobi tanto blade forged from century-old reclaimed shear steel. Sunnobi tanto are larger than ordinary tanto (nagasa above 1shaku) and may have sori similar to ko-wakizashi. see the whole process of forging this tanto here: http://islandblacksmith.ca/2018/03/utsushi-study-of-a-sunnobi-tanto/ 1. Using approximately a 1:1:1 mixture of natural clay, polishing stone powder and ground charcoal to mask the back of a hand forged blade about 1-1.5mm thick to slow down the cooling rate. 2. Brushing on a thin slip layer with extra charcoal added along the exposed edge to speed up the cooling rate and protect from carbon loss. 3. Carefully heating in a charcoal forge supplied by air from a fuigo box bellows until the edge reaches critical temperature. 4. Plunging edge-first into cold rainwater to cool the blade quickly and harden the edge while leaving the rest tough and resilient. 5. Testing for successful hardening with a file and then removing the clay with a mild steel scraper. 6. Slightly reheating the blade over the flames to temper the edge. 7. Test polishing on a coarse Japanese waterstone to check the hamon. more about the process: http://islandblacksmith.ca/process/ more about yaki-ire: http://islandblacksmith.ca/process/yaki-ire-clay-tempering/

**WARNING: This is the longer process version intended for serious students of knifemaking. Watch the overview edit here: https://rumble.com/v2fcrqp-timewarp-10-forging-habaki-for-a-tanto.html Making a classical tanto style habaki forged from reclaimed copper, silver soldering in the charcoal forge. Material is scrap copper from an electrical bus bar, shape is forged and bent, soldering done with hard silver solder in the charcoal forge with fuigo, finish work done with files and rasps. Machigane info: http://islandblacksmith.ca/2014/10/classical-tanto-construction-habaki-%E3%81%AE-machigane/ See the finished tanto and process here: http://islandblacksmith.ca/2019/08/furusato-tanto/