A dagger can refer to many different blade styles, but for most when we think of a dagger, we picture a double edged blade. The double edge blade geometry is a difficult one to master because of the convergence of planes and lines, but when it is done well, the dagger has a beauty that is classic.
To receive a Mastersmith's rating in the ABS,
the smith must make a quillion dagger with a fluted handle. The choice is a good one to
test the ability of the smith because it requires great skill and craftsmanship to be able
to do it well. It is a difficult blade for many smiths because they do not make them on a
regular basis and because of the technical problems one encounters.
I will layout the process for constructing a quillion dagger and include photos of blades by other makers that do it well. The dagger to the left was made by William F. Moran, the founder of the ABS. For those planning to make their Master's dagger, I would recommend that you study Bill's work and draw from it when you plan your blade.
The blade has straight and nearly parallel sides for 2/3rds of its length, tapering in a graceful curve to a very quick point. In this style of blade the symmetry is very powerful, all the energy flows to the point. The transition from the blade bevels to the ricasso is at a right angle with the center line terminating just before the transition creating a V shaped flat that blends into the center line. It is helpful to study the proportions in the blades. There is a harmony of balance between the length, width and profile that creates a flow.
It is helpful for me to study blades until I have absorbed the language of the form. What makes a particular blade appealing and elegant? When a blade is clunky and rude why is that? We have so few lines to work with in this form that the subtlest change in aspect will make a major difference in the final effect.
Because so much of the appeal in a dagger depends on its symmetry, a useful trick I use
to create new blade shapes is to work with graph paper. I fold the paper along one of the
grid lines and then sketch the profile of one side of the knife. When you have the line
that you think is attractive, cut it out and unfold the paper and it will be a complete
and matched outline. You have to consider the width is going to double when you unfold it.
In this quick example the point looks like the Washington monument and is not nearly as
graceful as the point on Bill's blade. This technique is especially helpful when creating
blades that do not have parallel sides and there is no easy way to measure and balance the
lines.
When I have a
shape that is pleasing to me, I make a tracing onto a poster board for a sturdier
template. You can also transfer it to Plexiglas or metal for a more permanent template. I
use this to refer to when I am forging the blade and for layout after the forging is done.
The important thing is to have a clear idea of the blade before you begin especially if
you are unfamiliar with the form.
Since the Master's dagger is Damascus, I will go ahead an plan my billet. Since the power of the dagger comes from its symmetry, it makes sense to use a symmetrical pattern. Ladder patterns look nice, but you can also use twists, or multiple bar composite billets. Consider also that the center line of the blade is going to bisect the pattern. I have made daggers in the past where the pattern was ground in after the initial blade bevels were forged terminating the grinds before the center line, this has a nice effect.