Museum Forge Shiageba
As part of the 2022 artist in residence project a temporary shiageba (finishing area) was set up for carving handles and scabbards for the knives forged earlier in the year. This was the first time that the finishing stages of traditional knifemaking were demonstrated at the museum. Later in the season a full-sized traditional togi-dai…
Photo Essay: Yakisugi Using Reclaimed Wood
Finishing views of a 4×16′ timberframe shed constructed as an opportunity to further develop and practice basic techniques of Japanese structural joinery. As with the kajiba project, the main inspiration for aesthetic and design is the humble Japanese inaka naya (納屋) style style of a century ago. From rough sawn lumber the preparation of frame…
Photo Essay: Views of a Timber Frame Shed
During the summer months this year the museum forge was closed due to dry conditions, affording the time to work on other projects. This 4×16′ timberframe shed provided an opportunity to further develop and practice basic techniques of Japanese structural joinery. As with the kajiba project, the main inspiration for aesthetic and design is the…
Making a Kanna from a Paper Cutter Blade
Craftsmen often create custom mameganna (small “bean” plane) for small wood projects requiring a custom radius or access to tight spaces. In this case a large post kanna was made from a section of industrial paper cutting blade as part of a timber framing project. Materials for this large kanna are a scrap block of…
Simple Bladesmithing Anvil
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 history was forged with very simple equipment made from found and natural materials.…
Museum Forge Update
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 equipment made from found and natural materials. A basic charcoal forge can be…
Island Forge: Kajiba Clean Up
Some views of the building in its tidiest state ever as the island kajiba series of photo essays comes to a conclusion, documenting the preparation, construction, and set up of a simple swordsmith style kajiba (鍛冶場, forge building) from the ground up. The main inspiration for aesthetic, form, and technique is the humble utilitarian Japanese…
Natural Earth Plaster Walls
In contrast to the rough walls of the kajiba, which are arakabetsuchi (荒壁土), the traditional infill technique using a rough mixture of natural clay, sand, and straw applied over lath (komai/kabekomai 壁小舞), the interior walls of the shiageba are finished with a finer natural earth plaster top layer. This small shiageba will provide work areas…
Island Forge: Kajiba Kanagu
An overview of kanagu (hardware), both made and found, to add to the island kajiba series of photo essays, documenting the preparation, construction, and set up of a simple swordsmith style kajiba (鍛冶場, forge building) from the ground up. The main inspiration for aesthetic, form, and technique is the humble utilitarian Japanese inaka naya (納屋)…
Building a Togi-Dai for Polishing
Togi (研ぎ) is the process of using several stages of abrasive stones to refine, smooth, and sharpen a blade. The word togi does not differentiate between the action of polishing and the action of sharpening, in the Japanese concept the operations are one and the same –an integral process. A togi-dai (研ぎ台) polishing platform is…
Organizing the Carving Area for Making Saya
A few views of the preparation of the woodworking space for carving saya (scabbards) and tsuka (handles). The loft area of the shiageba provides a small floor working space and storage area for tools and wood while downstairs is for polishing. The window faces north to provide stable lighting conditions throughout the day. Woodworking operations…
Preparing the Shiage-ba (finishing shed)
Traditional knifemaking is generally divided into rough work and clean work. Forging, shaping, and kaji-togi polishing can be done in the kajiba, but finishing work must be done in a cleaner area. This small shiageba will provide work areas for carving saya (scabbards) and tsuka (handles), polishing blades, and other finishing work such as lacquering…
Charcoal Kiln V.4.0
As part of the island kajiba project, reclaimed and natural materials were used to construct a larger traditional style charcoal making kiln. The basic concept is a simple chamber with a door on one end and a chimney on the other, insulated and sealed by being buried in clay/soil, and roofed to keep off the…
TLDW #27 – Forging a Saya Nomi (鞘鑿)
Saya-nomi (鞘鑿) are a type of Japanese chisel with several unique features designed for carving the inside of a wooden scabbard or handle. Hand forged from a reclaimed harrow tooth, the elongated neck is slightly curved for clearance and the bottom and side corners are slightly rounded and the tip is slightly bull-nosed to facilitate…
First Lighting of the Forge & Antique Habaki Utsushi (写)
First lighting of the newly rebuilt charcoal forge in the island kajiba 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. An utsushi (写) is a closely based study of another work for…