Film: Study the Old to Know the New
In a forge on Vancouver Island, reclaimed steel is turned into 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 | behind the scenes | making this tanto | view on youtube
Glass Top Fuigo – Inside View of Box Bellows
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. more about…
Making a Bamboo Scoop for Water Forging
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…
Differential Hardening Sunnobi Tanto
Sunnobi tanto are larger than ordinary tanto (nagasa above 1 shaku) and may have sori similar to ko-wakizashi. Read more about the process of yaki-ire. 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…
Process – Making habaki with simple tools
Making a habaki from reclaimed copper. Material is scrap copper from an electrical bus bar, forged and bent to shape, silver brazed with hard silver solder in the charcoal forge with fuigo, finish work done with files and rasps. Watch the shorter overview edit here.
Yakiire – Traditional Clay & Water Quench
The immersive experience of being in the darkened workshop during a traditional clay and water quench using a charcoal forge. A hamon is created on a tanto using a 1mm thick layer of roughly 1:1:1 natural clay, charcoal powder, and polishing stone powder. The blade is about 29cm long (nagasa), 2.3cm wide (motohaba) and 6mm…
TimeWarp #10 – Forging Habaki for a Tanto
Making a habaki from reclaimed copper. Material is scrap copper from an electrical bus bar, forged and bent to shape, silver brazed with hard silver solder in the charcoal forge with fuigo, finish work done with files and rasps. Watch the full length process edit here.
Futokorogatana Kaiken Tanto
Futokorogatana (懐刀) is translated as “clothing fold sword” and describes a type of tanto mounting meant to be carried in the kimono sleeve or fold. Also known as kaiken, this humble style of hidden mounting is usually unadorned with a smooth profile and lacquer finish. More photos and information.
Bladesmithing at the Museum Forge
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…
Process: Making the Fittings – Aikuchi Tanto Koshirae
The fuchi and koiguchi are from a reclaimed buffalo horn souvenir, the kurikata is from a reclaimed horn button, the wrapping is rawhide samegawa, the mekugi is copper and silver. All of the parts are first shaped and fit, then the samegawa is wet formed to the handle contours, dried, and then attached with sokui…
Process: Carving the Tsuka & Saya – Aikuchi Tanto Koshirae
In this video the tsuka is carved first, starting with the fuchi end and then the kashira area, carving the profile outlines and then removing the material in between before carving the final shape and sculpting the details. The saya is next, first dimensioning the blank is to approximate size and then profiling the koiguchi…
Process: Carving the Inside – Aikuchi Tanto Koshirae
In this video the tsuka is carved first, starting with the omote side and then the ura, carving each half from the mune to the ha. The saya is next, starting with the omote and then the ura, each half beginning with the fitting of the blade (from the mune towards the ha) and then…
Making Fire with Bamboo – museum forge first lighting
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…
Making 篩 for charcoal screening
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…
Making 箕 for charcoal sorting
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.