Although temporary demonstrations and events have been held at the museum since early 2012, the blacksmith-in-residence project at the museum forge was officially launched in 2015 by Red Cod Forge. Building and installing the traditional swordsmith forge was started in 2016, the… Continue reading
A yearly event around the theme of railways hosted by the Vancouver Island Garden Railway Club, The Oceanside Model Railroaders, and the E&N Division of the Canadian Railway Historical Association. Around four hundred people attended this year and enjoyed the many special… Continue reading
Vancouver-based Japanese NikkeiTV stopped in at the museum forge on their central Vancouver Island tour. Thank you to Kaeko~san and Tag~san for your visit and interest in traditional swordsmithing! Original airing date was June 5, 2022.
See more photos of the finished knives here. Watch more forge visits and interviews here.
In support of the Artist in Residence project: freshly installed results of photos, text, and layout assistance for the new Parksville Museum forge signage. See more photos of the Inome tanto, how the fuigo works, and tour the museum forge.
The forging of this blade was documented both in photography and video by Jordan Wende. The wakishinobe stage of lengthening and preparing the sunobe were done on the last day of forging at the island kajiba, and the hizukuri was finished and yaki-ire performed at the museum forge.
See the photo essay of the wakashinobe and sunobe stages and photos of the finished work.
Traditional Japanese swordsmithing anvils are simple in form and can be made from readily available materials. This article will present a photographic overview of the process of removing and replacing the swordsmith’s anvil at the museum forge on Vancouver Island. Most of… Continue reading
Traditional Japanese swordsmithing forges can be constructed with simple materials and natural ingredients. This article will present a photographic overview of the process of refurbishing the swordsmith’s forge at a museum on Vancouver Island. Most of history was forged with very simple… Continue reading
Forging a custom forest kotanto in the swordsmith forge. The starting material was a harrow tooth, the finished blade is hirazukuri, mitsu mune, 140mm / 5.5″ nagasa, with a sturdy 6.5mm motokasane. The finish will be tsuchime (hammer texture) so there was no filing or polishing before yaki-ire, which was done at my forge for the dim and consistent light conditions.
The first night turned out to be quite an event as there were three forges and six blacksmiths/strikers operating in the museum workshop. Thanks to Tim of Reforged Ironworks, and Josh for their energy and charcoal chopping to get the forge up and running, and their assistance swinging the big sledges to finish drifting and shaping the smaller hand hammers as the first preparatory projects in the charcoal forge. Read more about the museum forge project or watch a more detailed demonstration of lighting fire with bamboo.
Charcoal is chopped and then processed through four sizes of screen, the largest is for tanren, the second for hizukuri (I tend to use the largest for hizukuri as well and keep the second size mainly for yaki-ire), the third size isn’t… Continue reading
Traditional Japanese swordsmithing forges are fueled by softwood charcoal which is first chopped, screened, and sorted into several sizes for different stages of the forging process. The “furui” (篩) or sieve is used to separate different sizes of charcoal during the sumi-kiri process. This one is the smallest mesh of the four, made from window screen, and saves the fines for the charcoal bed and allows the powder to fall through. See the whole museum forge project here.
Traditional Japanese swordsmithing forges are fueled by softwood charcoal which is first chopped, screened, and sorted into several sizes for different stages of the forging process. The winnowing basket shaped “mi” (箕) is used to store and move charcoal between screens during the sumi-kiri process. See the whole museum forge project here.