- Joined
- Oct 8, 2001
- Messages
- 12,348
Hi Zoe,
OK, only since you asked.
When I was into making kit knife folders almost ten years ago, I brought one up to the ABS hammer in in NY in 2002. I was SO proud of it! It had it all: Rubbed blade finish, Stag scales, damascus bolsters, red liners, fileworked liners, fileworked backspacer, and carved clip. I left nothing untouched.
I proudly showed it to Mastersmith JD Smith, and he studied it closely. I was waiting for his approval....
He smiled and said: "I don't know where to begin. All the components are fine individually, but there is no flow or continuity from each component to the next. It's simply all too much."
You can imagine my disappoinment, AND my surprise. Now having had more than a few knives to witness since then
, I completely get his points.
You can see where I am going with this. Not only is every component busy, the patterns don't mate well.
One thing a seasoned artist will tell you, in almost any painting or drawing field, is how important the empty space is. And, how disciplined it is to leave those spaces untouched. There is no empty space here to break it up.
My words only have meaning with spaces in between. Withouttthemitisalmostimpossibletoread,althoughtheyarefamiliar.
The bolster, had it been plain, would have separated and distinguished the patterns of the blade and the lovely wood. The mokume is an accent that wasn't needed.
I had to see for myself and I crafted a drawing of what I thought. I added a little flute to give a border to the bolster:
For me, I find this appealing and not overbearing. It shows the pleasant curves and shape of the knife (it's main asset) along with the accented patterns of the blade and wood, separated and enhanced.
Maybe a taste of mokume in the backspine to add a splash of color. Or a small escutcheon.
Anyway, I think you are skilled enough to be able to hold off on the most impressing aspects and distribute them accordingly.
And then again, there is someone out there who disagrees with me entirely.
Coop
OK, only since you asked.
When I was into making kit knife folders almost ten years ago, I brought one up to the ABS hammer in in NY in 2002. I was SO proud of it! It had it all: Rubbed blade finish, Stag scales, damascus bolsters, red liners, fileworked liners, fileworked backspacer, and carved clip. I left nothing untouched.
I proudly showed it to Mastersmith JD Smith, and he studied it closely. I was waiting for his approval....
He smiled and said: "I don't know where to begin. All the components are fine individually, but there is no flow or continuity from each component to the next. It's simply all too much."
You can imagine my disappoinment, AND my surprise. Now having had more than a few knives to witness since then
, I completely get his points.You can see where I am going with this. Not only is every component busy, the patterns don't mate well.
One thing a seasoned artist will tell you, in almost any painting or drawing field, is how important the empty space is. And, how disciplined it is to leave those spaces untouched. There is no empty space here to break it up.
My words only have meaning with spaces in between. Withouttthemitisalmostimpossibletoread,althoughtheyarefamiliar.
The bolster, had it been plain, would have separated and distinguished the patterns of the blade and the lovely wood. The mokume is an accent that wasn't needed.
I had to see for myself and I crafted a drawing of what I thought. I added a little flute to give a border to the bolster:
For me, I find this appealing and not overbearing. It shows the pleasant curves and shape of the knife (it's main asset) along with the accented patterns of the blade and wood, separated and enhanced.
Maybe a taste of mokume in the backspine to add a splash of color. Or a small escutcheon.
Anyway, I think you are skilled enough to be able to hold off on the most impressing aspects and distribute them accordingly.
And then again, there is someone out there who disagrees with me entirely.
Coop
