東京都葛飾区高砂 5-42-3
Tel. (03) 3600-6811

- Ôno Yoshimitsu 大野義光
- Yoshikawa Mitsuo
- Mukansa ("without judgement")
- Prince Takamatsu Award (Takamatsu-no-miya Shô
- General Director of the Agency for Cultural Affairs Award (Bunkachô Chôkan Shô
- Excellence Award (award to encourage further efforts) (Yûshû Shô
- Effort Award (award to recognize remarkable efforts) (Doryoku Shô



Born Yoshikawa Mitsuo 吉川三男 on October 16, 1948, in Niigata 新潟, Japan.

1969: Started his apprenticeship with the sword smith brothers Yoshihara 吉原 Yoshindo 義人 and Sôji 荘二.

1975: Licensed as a sword smith by the government, and won the Effort Award (Doryoku Shô 努力賞) at the annual contemporary sword smith exhibition (Shinsaku Meitô Ten 新作名刀展) of the Society for the Preservation of Art Swords (NBTHK, 日本美術刀剣保存協会).

1976 ~ 1980: Won the Effort Award (Doryoku Shô 努力賞) five times.

1981: Won the Excellence Award (Yûshû Shô 優秀賞).

1982: Won the prestigious Prince Takamatsu Award (Takamatsu-no-miya Shô 髙松宮賞).

1983: Won the General Director of the Agency for Cultural Affairs Award (Bunkachô Chôkan Shô 文化庁長官賞).

1984 ~ 1987: Won the Prince Takamatsu Award (Takamatsu-no-miya Shô 髙松宮賞) five times.

1987: Was elevated to the rank of Mukansa無鑑査 ("without judgement", meaning that his swords are of such a high level that they are displayed at the annual contemporary sword smith exhibition without examination of a panel of judges; no further awards will be granted, since the swords are above competition).

1991: One-man exhibition at the Hayashiwara Museum 林原美術館.

Yoshikawa Mitsuo chose the art name of Yoshimitsu, using one character from his teacher’s name (義) as is the custom in Japanese traditional arts. After setting up a forge in Ôno 大野 at Kurozaki 黒崎町 in 1976, he added the name of Ôno to his signature.

Yoshimitsu’s favourite swords are Bizen Ichimonji 備前一文字. After seeing the national treasure 国宝 sword Yamatorige 山鳥毛, he became resolved, as a lifetime ambition, to reproduce that sword and emulate its style in his work.

Jake Powning
612 Markhamville Rd.
Markhamville N.B.
E4E 4H2
Phone (506) 433-1133 and (506) 433-5564

Jake Powning
Since he was a small child, Jake Powning has been obsessed with the folklore and mythology of his ancestors, especially as it relates to smiths. He forged his first steel in a forge, at an historic village, at age twelve. He has single mindedly pursued his passion to make swords from that point on, being a recognized rising star in the blade smithing world by age 26. Powning has sold work to Denmark, Switzerland, the British Isles, Canada, and the United States. He was recently selected as one of the “21 Leaders for the 21st Century” in his home province of New Brunswick, Canada.
Asked to describe his work Powning says, “I view my swords as an interaction between the profane, the mythical and the organic; as human artefacts that honour the immense power of nature, that remind us of our minuteness.”
Jake Powning is a passionate ambassador for New Brunswick, the rural province of Canada nestled against the great North Atlantic Ocean that he calls home. His work is strongly influenced by his natural surroundings; the great silences of the northern midnight, the beauty of the snowstorm, and the intricate unfolding of the northern spring can be felt in his work.
Jake Powning is married to designer Sara Powning; they have two young daughters and live in the tiny hamlet in the wild hills of New Brunswick where Jake grew up.


Blade: 36cm
Grip: 15cm
Over all length: 51cm
Scabbard: 40 cm

Peter Johnsson
Stigbergsplan 3, 4tr
S-752 42 Uppsala
Sweden not working
+46-18-51 52 58 (home telephone number)
+46-733-82 49 45 (cell phone number-not in regular use)
Insurance Value: US$5.100


Peter Johnsson
Peter Johnsson, born 1965 in Uppsala, Sweden, began his professional life as illustrator and graphical designer. A life-long interest in metal craft motivated a four year training in decorative ironwork and blacksmithing. Being fascinated by mythology, history and archaeology it became a natural progression to combine his experiences from design, art training and metal craft in the study and making of swords. Since 1999 he has worked as sword smith, focusing mainly on the traditional European sword in faithful reconstructions for private collectors and museums.

Central to his work is the study of authentic originals. He personally documents historical swords in collections and museums around Europe, noting aspects of their physical dimensions, dynamic properties as well as aesthetic qualities of shape and proportions.

The sword presented at this exhibition is however not a historical reconstruction, even if its overall shape and functional aspects are borrowed from certain swords of the late 15th C. Instead it relates to the fantastic world of Lewis Carroll, inspired by the poem ”The Jabberwocky” from ”Alice Through the Looking Glass”.
This is the Vorpal sword: made to be a relic brought from the lands of dream. Bold and broad, powerful and swift, it is an embodiment of the archetypical blade of the young hero. A weapon that helps him conquer chaotic lands where fearsome creatures lurk in darkness.

´Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.

Beware the Jabberwock, my son!
The Jaws the bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!

He took his vorpal sword in hand:
Long time the manxome foe he sought-.
So rested he by the Tumtum tree,
And stood a while in thought.

And as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!

One, two! One, two! And through and through
The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.

”And hast thou slain the Jabberwock?
Come to my arms my beamish boy!
O frabjous day! Callooh! Callay!”
He chortled in his joy.

´Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.

Blade specifications
-Total length: 116,5 cm
-Blade length: 86,8 cm
-Blade width at base: 7.8 cm
-Grip length: 21,5 cm
-Weight: 1,5 kilos
-Balance point: 8.5 cm from guard
-Forward poivot point: At point of the blade
-Aft poivot point: 34 cm from guard
-Blade node: 50 cm from guard
-Grip node: 9 cm from guard

Steel in blade: SIS 2090 (I will return shortly with exact alloy composition)
Steel in guard and pommel: SIS 1672, heat treated (I will return shortly with exact alloy composition).
Pommel features bronze inserts.
Gripp of with core of maple wood, bound with fine cord and covered with vegetable tanned goat leather.



Michael 'Tinker' Pearce
6914, S116th Pl
Seattle, WA 98178
Telephone: 206-772-6720

Michael ‘Tinker’ Pearce was born in 1962 in Seattle, Washington in the United States. After graduating High School he served in the Army as a tank repairman and later in the Army Reserve as a Drill Instructor Candidate. He also served briefly as a Police Officer, then worked at a variety of jobs in private security and investigations and as a writer and illustrator. Always interested in knife making, swords and history in 1992 he became a full-time knife and sword maker, achieving recognition for the performance and historical accuracy of his work. He is now a moderator and Honorary Educational Adviser for Sword forum.
Now living in Seattle with his wife Linda and their many dogs and cats, ‘Tinker’ works in a workshop attached to his home, studies renaissance swordsmanship at Academy Della Spada and performs demonstrations of medieval European martial arts at Camlann Medieval Faire. He and his wife Linda rescue and find homes for abandoned and distressed animals. His hobbies include riding his horse and driving and restoring classic sports cars.

Kevin R. Cashen
5615 Tyler Street
Hubbardston, MI 48845
Telephone: 989-981-6780  
Insurance: US$5.000
matherton forge

Kevin Cashen has lived his entire life in Matherton, Michigan USA. Since childhood he has been fascinated with the creation of bladed tools and had made many blades by grinding metal to shape. By the time he was 18 years old be had started forging blades in the traditional manner and had began selling the items produced. In 1990 he decided to become a full time professional bladesmith. The following year he became a member of the American Bladesmith Society and in a mere 4 years after joining, he quickly rose through the ranks to become a Master Bladesmith in 1995.

In 1996 he turned his focus to the area that initially captured his attention as a child, swords. Always willing to share his knowledge, it was also that year that he began traveling the country teaching and lecturing at locations ranging from local demonstrations to major universities.

Today he still works out of his shop in Matherton and has written articles in addition to his speaking and instruction. His work covers a range from early, European, Dark Age blades to late renaissance rapiers and is enough in demand that his waiting list is only occasionally reopened for new requests.

Swept hilt rapier

Blade: 37” of 160 layer O1 and L6 twisted pattern welded tool steel.
Handle: Fluted kingwood with gold wire inlay.
Hilt: hand wrought 1018 steel.
Over all length: 43”

Jesus Hernandez
2413 Covemont Drive
Huntsville, AL 35801

Phone: USA 1-256-539-9425

Insurance US$400

The blade smith Jesus Hernandez developed an interest in sword making at a very young age, but it never materialized until recently. A modest collector of Japanese swords and an instructor in the art of Tameshigiri (test cutting), his interest grew beyond the handling of the sword into the making of the sword. And as such, he started a lifelong path into the art of blade smithing.

Born in Spain in 1966, he spent most of his life in Salamanca. His professional career as a physician took him to the United States for training in 1990, where he met his wife Christine. This relationship resulted in a move to the USA to complete his medical degree and eventually establish a medical practice.

When he is not busy seeing patients, he dedicates his life to the art of making blades. He does all the work himself, from making the billet when working on a Damascus style or pattern-folded blade, to forging to shape, heat treating and polishing. He makes all the fittings that go along with the blade. His sense of aesthetics is based on the traditional pattern, modified to enhance the beauty of the lines and the flow of the forms into an object of art.

He now resides in Huntsville, Alabama. He has had no formal instruction on the construction of the sword. Rather, he has learned by reading and understanding metallurgy through the practical process of trial and error. At present, he enjoys meeting other bladesmiths so that he can learn from them and improve on what he has accomplished on his own.


The Ayasugi Dagger

This pattern-welded blade is made of a combination of three different kinds of steel: 1050 (plain carbon steel with 0.5% carbon content), 1095 (0.95% carbon) and 15N20 (0.75% carbon and 1.5% nickel). The steel was folded to about 100 layers and then carved to create a pattern on the surface of the steel to imitate the looks of the Ayasugi hada of the Gassan school of Japanese sword smiths of which I have been particularly fond. The steel for the guard and pommel is cable damascus which was then carved to shape. The wood for the handle is California Buckeye burl. The blade is 9 1/2 inches and the overall length is 14 inches. A classic design that crosses the frontiers of the European tradition in the shape and the Japanese aesthetics in the steel.

Vincent K. Evans
35 Beaver Creek Road
Cathlamet, WA 98612-9610
Telephone: 1 (360) 795-0096
Insurance $2.500

I began doing restoration work on antique swords in 1980 and have been a full-time blade smith since 1981.

Although I have done everything from Bowie knives to folding knives, the most challenging direction for me is historically re-creating the sword. By building pieces the way they did centuries ago, I have gained an admiration for the craftsmen of old. I am dedicated to historical accuracy and thoroughly research each piece before I begin. I do not try to make exact reproductions, but instead, re-create pieces within historical guidelines while maintaining my own identity as a maker in the 21st century. Schools and classes that teach this Old World art do not exist so I have learned through experimentation and examining original pieces in museums and private collections. Handling original swords and seeing the craftsmanship that went into each piece inspires me to keep learning and experimenting; to understand the craftsman; and in some way, touch the past.


Sword Type:  European Hanger
Overall Length:  26-3/16 inches (66.5 cm)
Blade Length:  21-1/2 inches (54.6 cm)
Damascus Blade Steels:  512 layers of 1095 and A-203 in a Ladder Pattern
Hilt:  Steel with Silver Inlay
Grip:  Desert Ironwood with Antiqued Nickel Silver Ferrule
Scabbard:  Black Leather over Wood with Antiqued Nickel Silver Fittings

Howard Clark
Morgan Valley Forge
115 35th Place
Runnells, IA 50237 -
Telephone: (515) 966-2126
Insurance: US$2.500 

Howard F. Clark
was born in January 1962. He currently resides on the 228 acre farm in Iowa, United States, where he grew up.

Howard Clark has been a full time blade smith for over 17 years. As a member of the American Blade smith Society he earned his Journeyman ranking with the ABS in 1990 and his Master smith status in 1992. Howard is also a member of the Knife makers Guild and a voting member since 1996.

Howard’s interest in knife making harks back to adolescence when, much to his mothers dismay, he would reshape and “improve” the household’s kitchen knives. As a full time maker of edged tools and weapons Howard quickly came into his own. Blessed with a eye for distal taper surrounding a strait plane, even early knives possessed the balance and organic flow which is distinctive to his work. His personal desire to produce blades that would not chip or bend and would remain sharp with extended use drew Howard into the field of metallurgy.

Through extensive reading and experimentation Howard delved into the microstructure of modern steel and heat treating practice. He is grateful for the introduction to Dr. John D Verhoeven and the Department Materials Science and Engineering at Iowa State University. With access to the research tools of the metals lab Howard was able to verify his findings through scientific method. This quest resulted in listing as co-author with Dr. John D. Verhoeven in several published papers, respect within the knife making subculture as a “heat treatment guru” and in the L6 Japanese style katana currently the top performance blade in the martial sword arts.


The Howard Clark hira zukuri san mai tanto sports a 11 5/8 inch nagasa with scant sori. The very tight ko-itame hada is produced by 3000 layer skin steel. The center core is 1086 a modern homogenous high carbon steel. The copper habaki is fabricated by Howard Clark. The tanto is polished by Keith Larman. It is mounted in a honoki wood shira-saya.


Keith Larman became interested in Japanese sword crafts in the late 1970’s. In the 1990’s he began training in traditional methods of polishing and mounting of the Japanese sword. In 2002 he decided to devote himself full-time to the profession of polishing and mounting. Even though he works full-time polishing and mounting mostly blades made by Howard Clark, his backlog reaches two years.



Anthony DiCristofano
3532 Sarah. St.
Franklin Park, IL. 60164
Telephone: (847) 845-9598  
Insurance US$17.000

Anthony DiCristofano was born on August 6, 1963 in Chicago, Illinois. U.S.A.

Since the age of 25 he developed a deep interest in Japanese culture and art, which lead him to study Japanese language, quickly reaching fluency.
Anthony was interested in many aspects of Japanese culture, but began to focus on the sword.
He then began studying kendo and sword smithing to better understand the sword and to find his path to inner peace in 1995.

Later, because of time restraints Anthony DiCristofano began to put more emphasis on smithing than training as he finally felt he found his path working with steel.
Since 2000 Anthony DiCristofano has been making swords as a professional smith.


Brandon Thell was born in St.Paul MN
He became interested in Japanese swords at age 15 and took up Iai-Jitsu.
At age 16 he became interested in polishing and other areas of Japanese style swords.
He started as a self taught polisher, which was very difficult.
He then studied with a very talented polisher of nihon-tô who became his mentor and still is.
Due to his accomplishments, he received the recognition of blade smiths such as Anthony DiCristofano, Jason Dingledine, Michael Bell and Rick Barrett
Who fully confided in his polishing skills. He has also polished swords by Howard Clark and Randel Graham as well as restoration and polishing of nihon-tô.
Presently Brandon Thell caters for mounting of swords as well through his own sources.
The present blade was polished by Mr. Thell.

Michael Bell (Anna & Gabriel)
Dragonfly Forge
88321 North Bank Lane
Coquille OR, 97423
(541) 396-3605
new emails:
Insurance: US$17.000
Dragonfly Forge

Michael Bell

Michael Bell was born in 1946, raised in California, Japan and Mexico.
Bell studied fine art at Meramec College, St. Louis, Missouri and the San Francisco Art Institute.

He became a student of master sword craftsman Nakajima Muneyoshi (art name: Yoshi Kuni) in 1970 and completed his apprenticeship in 1975.
Michael owned and operated Mission Cutlery in San Francisco, California, from 1980-85.

Bell began forging swords full-time in 1984, in San Francisco.

He moved to Oregon in 1987 and established his current works "Dragonfly Forge", winning his first major award knife show in the early 80's. He has since gone on to win numerous awards, including several best of shows. He won Blade Magazine’s Best Handmade of 1997

He continues to make swords and teach the craft at his hillside studio.
He is married to Anna and has five children.


Blade, 28 inches nagasa of forge welded cable of composite construction. The back is of straight grain cable steel with the edge steel of tightly twisted cable. The two pieces are forge welded the length of the blade. There are bo-hi on both sides of the blade.
Hamon is a distinctive gunome midare. Solid sliver habaki.
Tsuba is forged and folded antique wrought iron, pierced and carved in a floral motif and in the higo style. Cooper seppa.
Mountings ( koshirae) are han-dachi in shibuichi with simple stone texturing. Menuki are of ken design in gold and silver.
Saya is of wood (Oregon alder) and is lacquered with red and black polychrome.
All components are of my own design and manufacture and all the labor is my own. The blade was ground to the level of chu-nagura ( fourth stone) by myself and final polish done by Brandon Thell.




Richard van Dijk
76 Stepney Ave.
RD2 Harwood
New Zealand
Ph. 03 4780401
Ph. 0064 3 4780401
Mob. 021 1029679  
Insurance value US$7.000

I am a knifemaker who lives and works on the Otago Peninsula near Dunedin, New Zealand.
I was born and brought up in the Netherlands where I trained as a Goldsmith at Schoonhoven and qualified in 1976, in 1971 I spend a year travelling in New Zealand, this made my mind up to come back and I emigrated to New Zealand in 1979.
I started knife making in 1980 after finding a book and have been making knives part-time ever since, knife making had always fascinated me but I thought I was born in the wrong age.
Since I came to New Zealand I have been employed and self-employed as a goldsmith, over this period of time I trained four apprentices in the jewellery trade.
In 1995 I met a blacksmith who introduced me to forge welding, I got the bug and I have mainly made Damascus (pattern welded) knives since.
In 1998 and 1999 I travelled to the Melbourne Knife Show where, for the first time, I saw Damascus steel other than my own.
Other shows I have attended are:
• 1996 Palmerston North Knife show (My first)
• 2001 Palmerston North Knife show
• 2001 The First Auckland Custom Knife show
• 2002 The Second Auckland Custom Knife Show
• 2003 The Third Auckland Custom Knife Show (Best Historical piece, Best Bowie)
• 2004 The Fourth Auckland Custom Knife Show (Best Art knife, Best Period piece, Best Fighter, Best Forged)
• 2004 New York Custom Knife Show
Knifemaking in New Zealand is still in its beginning, although we have some very good makers there are not to many of us yet, I have been part of the setting up of the New Zealand Knifemakers Guild.
Since 1996 I have been a part-time tutor in jewellery at and since 2001 a part time Tutor in Metals exploration at the Design Department of Otago Polytechnic.


Jim Kelso
577 Collar Hill Road
VT - 05682
Telephone:(802) 229-4254
Insurance: US$6.000

Jim Kelso – Brief Life Sketch

Jim Kelso began his craft/art career in 1970, studying woodworking at Seattle Community College in boatbuilding. After grasping the rudiments of woodworking he began making stringed musical instruments, mostly banjos. His interest quickly moved toward the ornamentation of these instruments and his skills developed in carving and inlay. About 1975 he decided to learn metal engraving in order to engrave the metal parts of banjos. This interest in ornamental decoration flowered into a more artistic expression with Jim’s discovery of Japanese art in 1982. His ten year experience at that time working in metal and wood allowed Jim to make significant progress in the complex and enigmatic field of Japanese metalwork, while simultaneously maturing as an artist.

Jim was fortunate to receive two fellowships to study metalwork in Japan, in 1988 and 1997. At the time of the first visit, he was immersed in the world of Japanese sword fittings and was able to meet many of the top contemporary makers of these objects. He also met a collector who commissioned a collaborative sword from Jim and Yoshindo Yoshihara, a foremost maker of Japanese swords. At the time, Jim was also active making netsuke, or Japanese toggles.

Around 1992 Jim’s interests broadened to include the design and fabrication of jewellery in precious metals, Japanese alloys and enamel, merging Japanese and European techniques and aesthetics. 1993 began a rewarding time of exhibiting in nationally recognized fine craft shows including the Smithsonian Craft Show and the Philadelphia Museum Craft Show where Jim won first prize in 1995.

Jim has exhibited widely in the US, Europe and Japan and has lectured at the Freer/Sackler Gallery of the Smithsonian in Washington, D.C. and the Museum Of Fine Arts, Boston. His work has been seen in many publications and is currently on the cover of the book Art Jewellery Today. His work is in the collection of HRH Prince Takamado as well as Robert Kinsey. Other collectors include Sylvester Stallone, David Mamet, Tom and Kay Edson and the Renwick Gallery of the Smithsonian American Art Museums.

Jim’s continued pursuit and study of new technique and form have led him to the current focus of making boxes, vessels and small display screens in wood and metal.



Green-Man Knife

Green-Man is an ancient archetypal figure from many cultures representing man's unity with nature. This knife is one he may have found appealing: at once dark and mysterious, but with hints of light, power and renewal. The unique Pattern-welded Damascus blade by Don Fogg appears hewn from some ancient artefact. The blade is selectively polished to reveal the overall wood-grain pattern along with subtle "spirit" pattern within.

A silver guard with gold highlights shows a tree stump undergoing the inevitable process of decay. The Wenge wood handle has inlays depicting the strength and beauty of Oak in silver and gold. The pommel elaborates the process of decay, along with a wood-grained Australian boulder opal representing the concept of life regenerating from decay. Signed in a gold reserve inlaid in the handle.

Certificate of Origin

This is to document the origin and details of the object described above.

As stated above, the handle wood is Wenge. I started with a block specially selected to show flat-sawn grain or "cathedral" grain on the sides. I carved the general shape and further carved the pommel end to appear semi decayed. The whole piece was then sand -blasted to enhance the grain pattern. Wenge works especially well because of the hardness differential between the Summer and Winter growth. The wood is finished in lacquer.
The metal pieces are all lost-wax cast. This involves carving one-of-a-kind wax models for each piece. These models are then cast into their silver or gold forms and finished with engraving, chasing and patination. The guard and oak leaves also have traces of gold fused
for texture and colour variety.

The blade is approximately 400 layers of alternating 1095 and 15N20 tool steel, manipulated to mimic wood-grain. The heavy texture was done under a hydraulic press. The reflective pattern in the blade is the ghost of the texture on the flat. The distressed edge was torch cut and filed to shape to create a random, organic quality. The pattern was revealed by etching with ferric-chloride.

Rodrigo Sfreddo
rua sete de setembro,66 centro.
Nova Petrópolis,RS Brasil. Cep:95150-000
Tel.(0055)54-3033 0390
Insurance US$2.500

Rodrigo S. Freddo
Nasceu em 1974 na cidade de Santa Maria,no estado do Rio Grande Do Sul,Brasil.
Actualmente vive em Nova Petrópolis,no mesmo estado.
Desde 1988 manifestou interesse pela cutelaria,começando a fabricar suas
facas no mesmo ano.
Começou a forjar em 1998.
É um dos membros fundadores da Sociedade Brasileira dos Cuteleiros
(SBC),fundada em 2001.
Ingressou na American Bladesmith Society (ABS) em 2002.



Ricardo Vilar
Alameda dos Jasmins, 243, Parque Petrópolis – Cidade Mairiporã – SP
CEP: 07600-000
Telefone: (11) 4485-4346
Insurance US$2.200


Meu nome é Ricardo Vilar, sou casado e sempre fui apaixonado por cutelaria.
Quando criança tentava fazer facas de qualquer material disponível, sem sequer saber o que podia ou não ser temperado.
Em 1989, durante uma competição de arco e flecha na Argentina, conheci um cuteleiro Argentino e não o deixei em paz enquanto não consegui todas as informações que julgava necessárias para a confecção da minha primeira faca de verdade.

Voltando a São Paulo, tratei de por em prática o que havia aprendido, na esperança de, desta vez, fazer uma faca que merecesse ser designada como tal. Após seis meses, ela estava pronta, tinha empunhadura de ipê e latão e sua lâmina tinha sido feita com uma lâmina de aço para corte de granito. Seu desbaste havia sido feito exclusivamente com limas. Isto aconteceu em 1990.

Comecei, então, a mostrá-la a amigos, e a primeira oferta não demorou a chegar, mas como não queria me desfazer daquela peça, tive que fazer outras para vender em seu lugar, e desde então, nunca mais parei de fazê-las, sempre aprimorando minhas habilidades técnicas; construindo máquinas, procurando novas matérias primas, tudo para garantir a qualidade de uma nova peça, para que fosse melhor do que a anterior.

Desde 2001 anos tenho desenvolvido peças forjadas, o que teve um grande ganho na qualidade técnica após o seminário realizado em minha oficina pelo Mastersmith Jerry Fisk, em novembro de 2001, desta data em diante tenho me dedicado exclusivamente à cutelaria e principalmente a peças forjadas.
Confesso que sou mais inclinado a lâminas em estilo clássico do que ao estilo hi-tech, por isso, essa afinidade com a forja e toda a possibilidade de criação que uma peça forjada pode lhe trazer.

Na mesma data do seminário me tornei membro da ABS, American Bladesmith Society, tendo como objetivo me tornar um journeyman Smith
e posteriormente um Mastersmith, sei que para isso o caminho que terei que percorrer será longo e estudos constantes de novas técnicas. Aprimorando sempre a qualidade das peças e coligando as maravilhosas matérias primas brasileiras às melhores técnicas de cutelaria mundial.
Utilizo apenas aços carbono forjáveis, tais como: 5160, O1, 52100, 1070, 1095, e Damasco, o qual eu mesmo faço.
Para os cabos utilizo madeiras de lei, chifres e micartas.
Participei de todas as exposições já realizadas no Brasil, sendo que algumas eu tive a honra de ser o organizador.
Exporto para os USA e Europa. Atualmente sou o Presidente da Sociedade Brasileira dos Cuteleiros , e um de seu membros fundadores.


Ricardo Vilar nasceu na cidade de São Paulo, Estado de São Paulo– Brasil, no dia 27 de Fevereiro de 1972, onde reside até hoje.
Vendeu a sua primeira faca em 1993, desde então se dedica de forma integral à cutelaria.
Co-organizador do seminário de Cutelaria com o Master Smith Jerry Fisk em Novembro de 2001, que ocorreu em sua oficina, passando a forjar desde então.
Também neste seminário foi fundada a Sociedade Brasileira dos Cuteleiros , SBC. Hoje Ricardo Vilar é o Presidente desta Associação.
Em 2001 associou-se a ABS.
Em 2005 foi o primeiro Sul Americano com o titulo de “Journeyman Smith” pela American Bladesmith Society.



Espada em damasco com 280 camadas em padrão dente de lobo.
Guarda e pomo em prata  liga 925, cabo chifre de carneiro.
Comprimento total: 80 cm
Comprimento da lâmina: 60 cm


Gustavo Colodetti Vilar
CEP : 29066-040
TEL: [27] 3349 70 79 [27] 3227 69 39


O gosto pela arte de forjarr facas, confesso, não aconteceu pela necessidade de resgatar o oficio do cuteleiro ou ferreiro, mas pelo prazer e vontade de criar e construir algo com as mãos e acima de tudo, pelo inexplicavel fascínio que tenho por esse objeto desde a infância.
Esse hábito está intimamente ligado as atividades exercidas pelo meu pai, que é escultor. Desde muito cedo já frequentava seu atelier, onde tive os primeiros contatos com as ferramentas ... dai em diante , aconteceu tudo muito rapidamente.
Passei a adquirir literatura específica sobre o assunto , pesquisar na internet e fiz alguns cursos na area de cutelaria artesanal. No Brasil, essa actividade é muito rara e pouco conhecida, sendo restrito o numero de artesãos que fabricam artigos de cutelaria fina. isso acontece, pela dificuldade que o trabalho com o aço requer, sem contar com a lentidão no processo de criação e na associação da ergonomia e funcionalidade das peças, sem descuidar da estética.
Cada peça a ser criada representa um novo desafio . após cuidadosamente construída, a satisfação aflora e torna-se visivel o dialogo e a harmonia entre os diversos materiais utilizados e o artista, prevalecendo os limites de cada um...

Adaga de mão esquerda, grande adaga, inspirada nas adagas dos colonisadores portugueses [1400 a 1600 ].

Materiais utilizados :
- lâmina, guarda e pomo em aço damasco alto contraste.
- fornituras em alpaca.
- empunhadura em madeira de lei esculpida [ gramarim ]
- comprimento da lamina :
- aprox. 15 "
- comprimento total :
- aprox. 24 " [ o pomo terá aprox. 4 polegadas em forma de lamina sextavada ]
Insurance value : USD$1500


Gustavo Colodetti Vilar
nasceu em 1978 , na cidade de Vitória, no Estado do Espirito Santo, Brasil.
Filho de escultor, convive com as artes desde cedo, manifestando interesse pelas facas ainda na infância.
Iniciou seus estudos de cutelaria aos 18 anos, concluindo diversos cursos nessa área. Trabalha como cuteleiro em tempo integral desde 1999.
Associou-se em 2002 à "SOCIEDADE BRASILEIRA DOS CUTELEIROS" (SBC) e à " AMERICAN BLADESMITH SOCIETY" (ABS). desde então, participa dos principais eventos e projectos de cutelaria nacional.





Edson Roberto Martins Vieira, tenho 37 anos, sou filho de tropeiro e comerciante de animais, cuja principal ferramenta do dia-a-dia sempre foi uma boa faca criteriosamente afiada, por isso, desde pequeno aprendi a cuidar das facas de meu pai e a ter cuidado com as mesmas.

Em 1992, comecei a trabalhar como soldador na Ferrovia Paulista S/A, e foi lá que dei meus primeiros passos rumo ao aprendizado da cutelaria.

Nessa mesma época, tive a curiosidade de fazer minha primeira faca depois de ler um artigo cujo tema era “Faça sua Primeira Faca”, publicado numa revista sobre armas.

Através dessa revista, conheci Ivan Campos, um jovem também aficcionado pelas lâminas, período no qual passei a ter um contato maior com o universo da cutelaria.
No segundo semestre de 2001, Ivan Campos convidou-me para fazer um curso com o MasterSmith Jerry Fisk, curso esse realizado na oficina do cuteleiro Ricardo Vilar , em novembro desse mesmo ano.

Com a ajuda de Jerry Fisk meus horizontes abriram-se e passei a ver a cutelaria com mais clareza e prazer. Depois, foi só exercitar o aprendizado.

Até então, minha principal atividade eram as ciências jurídicas e a cutelaria era apenas um hobby, mas a cada peça executada um trabalho novo se desenvolvia.

Percebi então que somente os fins de tarde, sábados, domingos e feriados não eram mais suficientes, o que não me deixou outra alternativa: resolvi dedicar-me integralmente à cutelaria.
Hoje meu trabalho é voltado principalmente ao resgate da cutelaria brasileira, seus personagens e suas histórias, riquíssimos em detalhes e formas, os quais não devem ser esquecidos. Sendo um membro fundador da Sociedade Brasileira dos Cuteleiros, hoje ocupo o cargo de tesoureiro dessa sociedade.


Nome :
Espada Sorocabana
Pinos :
Ornamento no final do cabo chamado de "olho de pombo" :
Chifre de boi
Comprimento da Lâmina:
54 cm
Comprimento Total :


Luciano Oliveira Dorneles


Luciano Oliveira Dorneles
Nasceu em 15 de Junho de 1972, na cidade Porto Alegre, estado do Rio Grande do Sul, no Brasil.
Atualmente vive na cidade de Nova Petr
ópolis, no estado do Rio Grande do Sul, Brasil.
Desde o ano de 1997 manifestou interesse pela cutelaria e pela forja.
No ano de 1997, começou a fabricar facas de forma auto
No ano de 2001, foi membro fundador da Sociedade Brasileira dos Cuteleiros.
No ano de 2001, ingressou na ABS.


Luciano Oliveira Dorneles

Nascido em 15 de Junho de 1972, Porto Alegre, Rio Grande do Sul, Brasil.

Comecei a fazer facas pelo metodo de forjamento em 1997.
eu interesse por facas vem de sempre ter gostado de caçar e pescar. Com o tempo veio a vontade de fazer minhas próprias facas de acordo com minha ideia a respeito e minhas necessidades,meu estilo preferido é a faca da minha região, a faca gaucha.
endo um gaucho achei por bem resgatar esta cutelaria tipica, mas tambem gosto muito das bowies, experimentar estilos enriquece a habilidade do cuteleiro. Agrada-me em especial o trabalho com o aço damasco. Estudo esta tecnica bastante tempo, tendo desenvolvido o método de separação, e a liga W1/VCO, de alto poder de corte, trabalho preferencialmente com o aço AISI 52100, de onde forjo facas integrais, minhas favoritas, por influencia da cutelaria gaucha faço bastante bainhas integrais em aço damasco, assim como ponteiras e colarinhos de bainhas tambem neste aço.
Procuro fazer peças de uso real sempre ciente de que a forma segue a função, e observando a máxima qualidade metalurgica, periodicamente testo minhas facas em caçadas(me agrada muito os javalis) e pescarias.  

Atualmente sou director técnico da Sociedade dos Cuteleiros, e filiado na ABS norte americana onde já prestei meu teste de corte e dobra para journeyman smith e tive sucesso.

Participo em feiras no Brasil e nos EUA, como o Blade Show e Arkansas Knife Show, assim como hammer in nos dois paises.

Gládio Romano
Lâmina de 19 3/4"
Total 27 1/2"
Lâmina em damasco em padrão Letter
Cabo em osso de girafa
Guarda e Pomo em Damasco.
Yong Soo Park

Shipping from Canada:

#805, 10 Northtown Way,
Toronto, ON, Canada
M2N 7L4
Tel: 1-416-937-7377


Yong Soo Park 朴龍洙

Born October 18th, 1959, born as a son of a metallurgical engineer.
Education: Graduated from Mechanical and Metallurgical Engineering from Daerim大林 College in Korea.
Work History: Started working at a metallurgical engineering and manufacturing company in 1985
Produced swords since 1995
Started working at own forge since 1998
Currently residing and working in Siheung始興 City, Keyunggi京畿 Province, Korea.
Korean swords
- Traditional hwando 環刀
- Janggundo (general’s sword)
- Samgakdo三角刀 (triangular sword)
- Jukjangdo  竹杖刀(bamboo style straight sword)
- Janggumgum 將軍劍 (double edged sword)
- Dando (dagger)

Japanese swords
- shobu zukuri style katana
Insurance: US$2.000




The total length of the Changpogeom (stick sword) in scabbard is 97cm and blade length is 65cm