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Apercus

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Apercus last won the day on February 8 2021

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About Apercus

  • Birthday 10/26/1952

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    Male
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    Alabama
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    I’m interested in the metallurgy and archeotechnology of Nihonto from all eras and in the artistic /aesthetic aspects.

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    Shannon H.

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  1. I have included a photo of the entire tsuba for anyone interested.
  2. It sort of resembles the effect you get when you twist a layered (as in pattern welded) bar before forging the final blade shape.
  3. I’m not making progress on this tsuba. Any suggestions?
  4. I have a juyo Ichimonji tachi with vibrant utsuri appearing in an area that has .45% carbon content. I tend to think your conclusion that .45% carbon content steel can’t produce utsuri is incorrect
  5. The only way to determine answers on this subject is through trial and error error controlled experimentation. Results provide bits of information. A lot of trials and results eventually define the science. Everything else is speculation and should be treated as such.
  6. As a side note, Howard Clark produces Japanese styled blades in a process that maximizes banite formation instead of martensite. The process allows for an edge almost as hard but greater toughness and resistance to breaking overall.
  7. I believe there are several effects that are called utsuri. The description given by Yoshindo Yoshihara I believe is describing the formation of banite in the microstructure. Banite forms at a different temperature range than martensite. It is almost as hard as martensite but is much tougher and resistant to cracking. It is very desirable from the viewpoint of structural integrity. I believe many older blades were made without the use of clay. I suspect a large bar of iron was heated to a suitable temperature and the edge of the blade to be heat treated was placed against it to allow heat by conduction. I don’t see any other simple way to achieve a controlled differential application of heat on a long slender sword without modern technology. I have experimented with this and have produced “utsuri” similar to what I see on older blades. Not every steel will produce utsuri. As Rivkin mentioned, different steels have different thermal conductivity characteristics. It is difficult to produce utsuri on most modern steels, especially with high carbon content or alloying elements. I find that tamahagane with a medium carbon content works better for producing utsuri. I did X-ray diffraction analysis on a mid kamakura tachi with vibrant utsuri and found the core steel was high carbon (.7%) while the exterior layers were mid range carbon content (.45 % to .55%). I haven’t done an exhaustive study of the effects called utsuri. I don’t have the samples, time, money, energy, etc. These are just my limited observations from several years ago, so take that into account.
  8. A friend sent poor photos of a wakizashi someone gave him to practice sharpening with. He has forged and sharpened blades at the blacksmith shop in the past. Luckily after looking at it he decided it might be something he has no business doing anything to it. I don’t have my books with me but thought I might ask if anyone can make out the mei well enough from the poor photos to translate. I’ll help him know what he has and how to care for it or how to get it in the right hands of someone who will care for it if he wants to sell. The photos are a little out of focus and the characters are hard to see well.
  9. Thank you once again
  10. I haven’t gotten the province yet. I think it’s followed by “ju Kanesada”. I’m trying to figure out which Kanesada this katana proposes to be. Any help is appreciated. I’ll send photos and description this weekend.
  11. Thank you
  12. I’m looking for help with this mei on a recent tsuba I obtained to complete a matched set
  13. First purchase was at age 38, which was 33 years ago. I paid $10 for for an early kamakura tachi which now has juyo papers and an attribution to the Ichimonji school. Great way to start. I still have it.
  14. There are many books and recipes for producing patinas on metals. I have several. Anyone with the time and resources to allow for experimentation should be able to produce an acceptable patina. Luckily, most who produce artificial patinas are not patient or fail to put out the effort to do it well. If you find a technique that works well please don’t publish it. We don’t want to educate grifters.
  15. It was quit a few years ago
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