The inome (pronounced “ee-no-may”, 猪の目, eye of the boar) name comes from the pierced heart-shape designs of the decorative o-seppa on either side of the tsuba. This lovely motif is ubiquitous in Japan, seen often in architecture, furniture, and sword mountings. This is the first of my blades to incorporate antique sword parts as part of its mounting. Process of making the Inome Tanto.
A look at some precision cut steel tanto kata based on historical japanese swords from 1200s-1500s…order a set of kata here: soulsmithing.com/product-category/kata/
A kata is a pattern or form used for appreciation, study, or for reference. 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. Learn about making your own kata.
Installing/repairing the higuchi (tuyere), the point where the air enters the forge and temperatures are very high. In this case the fire clay to form the tuyere and fit it to the brick construction Japanese swordsmith forge is a traditional brasque recipe consisting of 6:2 charcoal powder/fines to natural clay, mixed with just enough water to stick together well. The forge must be allowed to dry fully before lighting or steam will crack the clay. see more of the island forge kajiba project
Let’s just take a moment, shall we? Take it. Taken. Done. Sights and sounds featuring stones, moss, rain, bamboo, birds, cypress, and a frog. This area was a muddy thistle patch three days ago.
more of the island forge kajiba project
Repairing a broken natural Japanese waterstone using urushi lacquer. Natural urushi lacquer is strong enough to repair the stone but will not interfere with sharpening and polishing as some glues may. Carving a cypress base to hold the stone together as well as using urushi lacquer to reattach the halves provides a double solution. The stone is a Kumamoto binsui-do, approximately #700, from Monotaro in Japan. Urushi is from Watanabe~san.
Building two examples of quick and simple sideblast charcoal forges with found and reclaimed materials to demonstrate that lack of equipment and materials should not be a major obstacle.
Ways to improve and expand on these concepts include: mixing copious amounts of chopped straw or charcoal powder (6:2) 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.
In a forge on Vancouver Island, reclaimed steel is turned into tanto.
A look at the inside operation of a prototype fuigo (鞴) box bellows…four wooden flap valves (called ben / は弁), two for intake and two for the manifold, control the direction and location of the airflow on each stroke of the piston to provide double action to the single output into the fire.
Simple technology for pouring water on the anvil, takeno mizusashi (竹の水差し) 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 is a traditional style tool for evenly applying water to the surface of the anvil or the hot steel. Read more about the process of making one.