As the market for artisanal goods keeps expanding in a world of disposable IKEA and H&M ‘goods’, so too does the desire for people to hear the stories behind these expertly-crafted artifacts. Murray Carter is another one of those makers who has spent his life perfecting the craft of bladesmithing…a unique craft that demands both patience in the design process as well as a keen eye towards details. In this short from Portland, Oregon-based video production house Cineastas, we get a behind the scenes look at how a six-year apprenticeship with a 16th generation Japanese bladesmith helped influence a Western knife maker.

‘Those Without Action Are Without Results’

“Like many North American boys, I have been fascinated with knives and things that go ‘cut’ since my early childhood. As fate would have it, I ended up in Japan at the age of 18 where I fell into an apprenticeship with a 16th generation Yoshimoto bladesmith that lasted six years. Upon completion of that fortunate tutelage, I was asked to take the position of number seventeen in the Sakemoto family tradition of Yoshimoto bladesmithing. I believe I am the only Caucasian ever to have had the honor and privilege of this position.”

Having continued to forge blades in Japan for 12 more years until the age of 30, Carter was awarded the rating of Master Smith by the American Bladesmith Society in 2001…a title worthy of intense bragging rights:

Master Smith Testing Guidelines from the ABS

1. The applicant must provide for review a knife in the form of a European Quillon Dagger. The guard of the dagger must be a quillon guard, similar to those found on European daggers in the middle to late middle ages. Quillons are lugs or extensions which extend outward from the center of the knife, and may be forged or turned. They must be even, symmetrical, and pleasing in appearance. Flat round guards or oval guards do not qualify.

2. The blade of this dagger must be forged of pattern-welded Damascus steel of the applicant’s making. It must also be:
A. Of at least 300 layers in construction. Should the applicant make a mosaic or geometrically patterned blade, at least one area should readily be identified as having 300 layers.
B. A minimum of 10 inches in length, guard to tip.
C. Ground in either a double flat grind (diamond cross-section) or double hollow-ground.
Naturally, the blade must be straight, symmetrical, and contain no flaws or cold shuts. After all, this literally is your masterpiece! Twists, ladder patterns and mosaic patterns are all encouraged, but be sure that there is at least one section visible which the judges can ascertain that the blade meets the 300-layer minimum.

3. The handle also has some requirements. Its length should be appropriate for the blade, and I recommend that you make it of the very best materials you can afford. A word of advice: do not use synthetic materials on the handle of this knife or cut corners in materials. The use of brass furniture and/or copper electrical wire on this handle will get a lot of frowns from the judges. The more salient requirements are as follows:
The handle must be inlaid with a twisted wire wrap, set to a depth of one half its (the twisted wire’s) diameter. The handle must also be fluted for most of its length between the strands of twisted wire. The strands of twisted wire must show the same degree of twist for all. Flutes should be crisp, distinct, and well-finished. The spacing and depth for wires and flutes must also be even and uniform.

Since moving back to the United States in 2005 after being awarded the Master Smith title, Carter has completed nearly 20,000 knives out of his Hillsboro, Oregon (just outside of Portland) workshop…all of which carry the same old-world artisanal build quality that he was taught in Japan. Here’s a peek into his philosophies and process: