It’s always hard to remember to catch some of the process in pictures when you’re ready to dive into a project. Here is a broad strokes view of a custom wa-handle and black finish saya for a Hitohira Futana SB Kuro Tsuchime Gyuto 210 mm. The handle is assembled with epoxy and finished with Tung oil.
I discovered some Japanese style handle makers out there use a method of construction involving a dowel insert. Essentially the handle and ferrule are drilled out to receive a matching size dowel with a slot cut from the dowel to fit the tang of the blade. I found this method has a few advantages for assembly and makes tang fitting a little easier.
I decided to try it on my Tojiro knives that needed some upgrading.
Knife Specs
Type: Tojiro Shirogami Gyuto Length: 210 mm Steel: Shirogami #2 (white #2) Handle Shape: Octagonal Handle Material: Claro Walnut, Wild Apple wood Handle Length: 135 mm Ferrule: 30 mm Ferrule End Width: 18 mm Ferrule End Height: 23 mm Butt End Width: 21 mm Butt End Height: 26 mm
Type: Tojiro Shirogami Petty Length: 150 mm Steel: Shirogami #2 (white #2) Handle Shape: Octagonal Handle Material: Claro Walnut, Wild Apple wood Handle Length: 120 mm Ferrule: 28 mm Ferrule End Width: 15 mm Ferrule End Height: 18 mm Butt End Width: 18 mm Butt End Height: 21 mm
Saya – Knife Covers: Poplar
Walnut and Apple squared up and ready for drilling.
To mark the dowels I start by marking the end with the thickness I want. Then I lay it flat along the mouth of my vise and use the jaw as a ruler. Rotating the dowel as required.
Holes drilled to receive dowel insert. The tang slot in the dowel will be paired down with a chisel to better fit the tang. The ferrule will be rough fitted to the tang before assembly.
Using two clamps during glue-up allows you to insert the knife tang to ensure the dowel is aligned correctly.
I find it easier to mark out my chamfers so I know exactly what I’m aiming for. I do this on both ends because grain direction can change and it requires planing from either end.
I lightly sand with 220 grit to break sharp edges.
First coat of Tung oil on the gyuto handle.
First coat of Tung oil on the gyuto handle.
Six coats of Tung oil applied with cheesecloth. A dry piece of cheesecloth is used to burnish in between coats.
Dry fitting handles.
Making a saya without the handle is easier to do when possible. This way you don’t have to cut out the notch for the handle first, making it more stable against the stop when chiselling out the waste.
Marking and cutting out the retaining pin hole is best saved for near the end.
It is always better to have the blade spine and cutting edge in one solid piece opposed to directly over a glue line.
Finished Claro Walnut and Wild Apple handles with Poplar saya – knife covers.
Fujimoto Nashiji knives are made exclusively for Knifewear, a Canadian importer of high end Japanese knives. The core of the blade is Aogami #2 (blue #2) carbon steel clad in stainless steel. This gives all the benefits of a carbon steel knife with less maintenance since the only part that can rust is the exposed cutting edge.
The request for this knife was to make it stand out from the crowd. After some dialogue back and forth the only real request was that I use some funky figured wood. Here is what I came up with.
Knife Specs
Type: Fujimoto Nashiji Gyuto Length: 243 mm Steel: Aogami #2 (blue #2) Blade Height: 47 mm Tang Thickness: 6 mm Handle Shape: Octagonal Handle Material: Maple Burl, African Padauk, Ebony Handle Length: 143 mm Ferrule End Width: 19 mm Ferrule End Height: 23 mm Butt End Width: 21 mm Butt End Height: 26 mm
I particularly like the size and dual taper on this octagonal handle. It is a good size for a workhorse knife but is still nimble for finer work. The ferrule has been sealed around the tang of the knife with epoxy to prevent moisture from entering into the handle. The blade road was lightly polished out to give the knife a bit more of a refined look. I think the contrast with the hand hammered finish goes nicely. The knife was then hand sharpened on a progression of synthetic Japanese water stones and finally stropped with 0.5 micron compound (30,000 grit).
Original Fujimoto Nashiji Gyuto
The original burnt chestnut handle with plastic ferrule
The handle appeared to be burned in but then epoxied after.
Maple Burl block being ripped to thickness for the new handle blank.
One face of burl contains eyes and the perpendicular face shows radiant lines.
Ebony spacers. Helpful tip when using multiple woods for one handle is to try and have the grain of each wood going the same direction.
Handle blank mock up.
Marking out the tang slot. So far I’ve found I get cleaner results on the front ferrule face if I do these separately
Marking out reference lines on the outer faces ensures the tang slot is lined up even if the different stock is slightly different widths.
Epoxy is used for clear glue lines.
I have used the top as my reference face and marked out everything for my dual taper based off that.
Chamfers were cut by hand using my trusty taiwanese style hand plane. 5 mm marked in from the corners.
First coat of Tung Oil shows how deep red the Padauk can go.
The client asked if I had enough of the burl left to make the saya. I did technically but it required ripping and book matching.
Layout of the retaining pin and cut out for the ferrule.
The saya was proving difficult for relief carving out the slot for the knife so I opted for a laminated construction.
Rehandled Fujimoto Nashiji Gyuto
Maple burl saya with Ebony pin.
Colton Organ stamp!
Rehandled Fujimoto Nashiji Gyuto with Maple burl saya
This Poplar saya is for a Shun Kiritsuke 8 inch. I was playing around with thicknesses on this saya to dial in exactly how thick will give good protection but not look too bulky. This is an example of the Poplar sayas I will be offering for sale.
This is before thinning out the walls with a hand plane.
Saya is the Japanese term for a scabbard or sheath specifically for a sword or knife. While researching the design and construction of these I discovered the main complaint about them was losing the retaining pin that keeps the knife locked inside. So I came up with a way of tethering the pin to the saya. Not a new idea but it functions well and suits the style of construction.
The method of construction is lamination. For this particular saya there is three layers. Poplar on the outsides and cedar on the inside. The retaining pin is made of Arbutus. All using traditional hand tool methods. The only time a machine came into play was for drilling the holes. The finish is Boiled Linseed Oil.
This is the Tojiro 150 mm petty that I purchased along with the 210 mm gyuto. I decided to go with a slightly different handle configuration using the same woods. The saya is constructed of Poplar and painted with black milk paint.
Milk paint is made using milk protein, lime and earth or mineral pigments. It is environmentally friendly and non-toxic. It has been used for hundreds of years on furniture and in the past families typically had their own recipe they would pass down through the generations. It is water based so it doesn’t just form a layer on top of the surface that can chip off. It gets into the pores of the wood more like a stain than modern paints.
Handle Dimensions:
Overall Length: 110 mm
Width: 15 mm
Height: 22 mm
Ferrule: 10 mm
White Oak and Ebony handle blank.
Handle blank next to 150 mm blade.
Handle blank next to 150 mm blade.
Hand planed to final hexagonal shape and drilled to fit the tang of the blade.
I always tape off the sharp cutting edge of a knife before doing any handle work.
Knife saya with a coat of black milk paint.
Finished knife. Handle has boiled linseed oil finish
Finished knife. Handle has boiled linseed oil finish
Finished knife. Handle has boiled linseed oil finish