THIS IS HOW I WORK IN THE SPECIFICATIONS OF A BLADE

The KATSUJIN-KEN concept that I have developed is rooted on a hybrid mune shinogi-zukuri katana blade bearing a horimono carved on the Omote (front) side of the blade.

The Hybrid Mune is also part of the Concept that is further explained below.

But having a LIFE-GIVING SWORD katana imparts a double and significant meaning: 

In fact this concept requires a very good understanding with the bladesmith,  skilled enough to make an entire blade, from concept to the finished katana, ready to use, fully furnished.  Having said this, let's proceed.  

The second meaning is that as a designer and owner of the first KATSUJIN-KEN, I wanted to contribute in as much as possible to the blade dressing. For me, this LIFE GIVING SWORD must shine, must incorporate in it the Yin and the Yang, or Yi and Yo in Japanese, to become an entirety. Every Goodness contains Evil, every Evil contains goodness. So is the Way of the Universe.

Let me explain further. We live in a world of symbols and icons, though most of the time we don't perceive them as such. Let us take the ritual of a bullfight. 
It is not by chance that the arena is circular, the bull is black and the bullfighter is dressed in his "traje de luces" or garment of light. It is based on ancient rites in which good and evil are part of the entirety. This is to say: the circular arena is nothing but a representation of the Universe. The black bull represents Evil because of its color, while the garment of light is obviously a representation of Good. There, in the arena, human and beast recreate the infinite battle between Good and Evil, the balance of the opposites.

Based in the same concept of Yin and Yang, Yi and Yo, Ormuz and Ahriman, or the positive and negative magnetic fields, my design approach for the LIFE GIVING SWORD is one where the metal part is prevalent.

THE BASKET WEAVE TSUBA

The Tsuba is to be a hollow Basketweave Tsuba finished in polished black with silver plated seppa both sides. This Tsuba is very elegant and light in appearence and has a very elegant finish.

There is a reason for me to choose a black Tsuba finish as it would be too much silver continuously, requiring a black part to break that continuity.

THE FUCHI-GASHIRA

Fuchi-Gashira are also Key Fret pattern in silver, as seen in the picture. The tsuka is for now a 13.5 inch, and it may go a little longer or maybe we can add some extra weight at the nakago for a better balance. I must stress this is not a Iaido sword. It is a symbolic sword. I want the silver plated seppa to visually separate the Tsuba, since I designed a Habaki with two layers in silver. The one close to the blade is super polished while the remaining part its a surprise, good for a better hold to the saya.

THE TSUKA

The Tsuka will have a black leather ito with the best same and again a silver plated menuki. To contrast with the shinning blade, I came to the conclusion that this blade could only take a black leather ito, symbolizing that it is the user that will be handling a dangerous weapon who will have to make this blade shine spiritually.

The Tsuka shape is to be as traditional as possible exactly as the drawing with the inward curvature.

THE LEATHER ITO
The black leather ito is of very fine and shinny leather,  that was bought in Japan by a kind friend who, afterwards decided to offer it to me. I shall not reveal his identity out of respect for his privacy.

THE MENUKI

As for the Menuki, I have chosen  a flower theme as the most appropriate from what is available. It will be duplicated in silver, and then receive a black patina in its recesses.

THE HAMON

I still have to discuss the hamon with Rick Barrett, but I'm sure it will be a beautiful hamon, adapted to the steel, which is not definitive a 1086. It has to be, because I consider that this sword will be a highly spiritual sword, so the hamon must be of extreme beauty.
Personally here are my choices, that don't obey to an order of preference. The Kikusui hamon, because of the poetry that emanates from it may be one choice, specially if it can be repeated along the blade.. 

Choji hamon would also be a favourite if it could be more rounded, to contrast with the crisp lines of the blade, if possible displaying all active elements that the steel will allow.

This other hamon which is from my chokuto, reminds me of a flower, is also a favorite  because its so delicate and beautiful, an intrinsic part of Nature.

I have no favorite hamon apart from the fact that this sword demands a natural theme hamon, full of beauty and with as much activity as the steel allows.

Again, the rigid lines of the blade must harbor the softness of Nature to become complete. Rigidity and flexibility.

The blade lines, needless to say, are to be extremely crisp and very well defined.

THE HABAKI

As for the Habaki, as I have mentioned before, I hope for one that can contains two layers. The first layer that will be in contact with the blade is to be silver plated, and is polished. The second layer will be a Keyfret pattern decoration.

THE POLISH

Apart from the horimono which should only be carved and not have any darkened parts, just burnished, the shinogi-ji as well as the hybrid mune should be very highly polished and burnished while the  hamon, the hataraki, hada and hiraki should show all activity with all ashi lines brought out. However I hope for a very visible nie and nioi. I very much hope this blade can serve as a catalogue of what Rick can do with tempering.
I am sure he will do a work of art of this blade which will be photographed with all possible resources and an entire link dedicated to its concept, fabrication, general views and details of all kinds.
 
THE SAYA, THE COLOR AND THE HORN PARTS

Now the Saya. I have thought much about it, but once I understood the depth of the principles in which I laid my concept, then everything became easy. 
It will have a Black horn Koiguchi and Kojiri and a Kurigata with a silver plated Shitodome. The Saya is the feminine part of the blade. Its the Yin or Yi, so it should be dark, perhaps black. What I did was to think of a charcoal gray car paint with silver dots that are already in the paint. After the saya is painted, it will be lacquered as Rick knows how to. Again, in the darkness of the saya, sprinkles of silver will show the same dualistic principle.

The rendition of the Saya is only a pale idea, limited as it is by the filters effects. It is much darker, yet it possesses an overall sprinkle of silver which is intensified slightly towards the end where a third silver plated antiqued flower menuki, whose center should be placed about 5.5 inches from the end of the Kojiri.
The Saya not being totally black, but charcoal gray, the silk Sageo can be black and still stand out in a subtle way. 

IMPORTANT: The habaki must be held very tight by the saya because of temperature changes. 

THE SAYA DECORATIVE DETAIL

From the smaller Menuki I created a decorative item that may eventually be placed about 4.5 to 5 inches of the end of the saya. At that area apart from the metallic grey paint I expect silver sprinkle on the saya, the size of large ground pepper over about 40% of the surface. It means the end part of the saya may look lighter while the Sageo part will look darker. However this decorative item will be subdued, understated.

THE SAGEO
I will definitely want a pitch black silk sageo from Fred Lohman. I know the type and like it alright. When tying the sageo, please be aware that I don't like the tip of the loop or the end to overlap or even touch the Tsuba. One way of avoiding it would be to have the Kurigata placed a tad further away from the Koiguchi. A sample of how I like if can be seen with my Blue Bamboo that Fred Lohman refurbished. In this case I had to cut the sageo. Guess a fourth knot around the saya would also solve the problem easier.

THE POINT OF BALANCE
I personally do not fancy a frontward thrusted POB. I rather prefer a sword whose POB is very close to the Tsuba, and in my opinion it makes some sense. The reason is that the axhis of the movement is the right hand, very close to the Tsuba. Mechanics tells us that if the Tsuka also helps balancing the sword by making it look lighter, through a longer handle, then the longer blade will be trusted with more power using the same strenght the same manner that the Japanese Bow uses 2/3 of the upper part to provide an extra thrusting power. 

THE SORI
It is of the utmost importance for the beauty and functionality of this blade that it can have a sori of 6/8 to 7/8 of an inch. 

CONCLUSION

This is what I expect my KATSUJIN-KEN to be. Highly spiritual, containing the horimono that states that it is a LIFE GIVING SWORD, shinning in the crispiness of its shapes and gracious curve, and balanced by a metallic charcoal gray saya.

In short, I can just design a sword. But convoking Spiritual Symbols that are part of the Nature of the Universe to find a design path is blending oneself with the object to be created. It all becomes simple as you just interpret what is there.

I have searched for other alternatives, but cannot find any other in which color could have a meaning. The Principles of the Universe are Harmony made of the balance of Light and Darkness. Then, with the smith's deep spirituality, this blade is to be one for the owner to cherish as a weapon of Light and of Goodness.