When I started making
knives my only source of reference as to what a knife should look like where
the factory knives for sale at the local gun shop. I was dimly aware of the
existence of a knife maker’s guild but did not know any members. I later found
out that the closest knife maker to where I lived was about 500 km away. Right
from the start of my knife-making career, I was forced to pave my own way in
design and conceptualisation.
The first knife maker
I met was Derek Rausch, and his knives where the first hand-made knives I have
seen. Derek's technical prowess bowled me over and his use of flower shapes on
his carved handles opened my eyes on new sources of design for my own knives.
I distinctly remember
thinking that I might as well give up on making knives, as I would never reach
the standard of craftsmanship required of the modern knife maker. Derek looked
at some of my designs; maybe he sensed my inner turmoil because what he said
next made me go on: "You have some unique designs here, get your execution
right and I'm sure that you have a great future in knife making. You're young;
you do not have any preset ideas on methods and designs, have a go at it."
Since then, I have
acquired a load of books and magazines on the subject of knives and knife
making. I have spent hours discussing design and techniques with other knife
makers. I got a lot of good and a lot of useless advice but through all these
conversations as well as all the written material I have gone through there
seems to be one misconception: "Knife design can't be taught." Apparently, the
new knife maker has to find his way through trail and error.
Another problem facing
the new knife maker is the trap of technical skill. New techniques, materials
and tools, and in the end he resorts to old designs because he does not
realize that as new knife maker he already has a load of accumulated memories,
sensory data and a unique background to use in the design of his knives.
The purpose of this
chapter is to show knife makers how to grab hold of their uniqueness and to
apply it to the knives they make, by use of basic design elements and
principles. There is no rule of thumb; the result is what counts. "Honest
knives" To quote Ed Fowler.
What is good design?
A well-made knife is not necessarily
well designed. A knife can be made of the best materials, made to microscopic
tolerances and still be badly designed.
Good design is universally appreciated
but not to everyone's taste. One might appreciate the looks and craftsmanship
of a Japanese sword, but if you are a collector of folders, chances are that
you will not buy one for yourself.
Good design is fashionable but not
dictated by changing fashions. It will be as pleasing in fifty years as it is
now. When you have made a knife to the best of your abilities and sold it to a
satisfied customer you have designed a good knife!
A friend of mine once said," The
greatest compliment a customer can give me is to put one of my expensive
folders to everyday use." It shows that the buyer likes the knife so much that
he wants to keep it on his person, show it around, handle it, and use it.
Excellent design: when the knife you have designed and made, finds a buyer.
