Top 5 Strongest Swords (Yasuo, Nodachi, Genji) - MAN AT ARMS: REFORGED

I'm Matt I'm Kerri we are the stag my brother is a Baltimore knife and sword we're gonna be building some of your favorite weapons with some weapons that you've never seen before this is man-at-arms reforged ginji's dragon blade is by far the most requested build light you the fans the build compliments all the craftsman skills in the shop we're gonna be using everything from traditional forging techniques to modern fabrication to get it done in September of 1937 the Manchester railway company got the commission from the Japanese government to produce the new source for the military thin ovation the produced those swords was taking modern tool steel making a pipe out of it and inserting malleable iron in the center this produces a perfect Forge weld where the soft core is always symmetrical to the rest of the blade the time they were heralded as the greatest innovation of the Japanese sword considering the Genji is basically modern-day Robocop we're going to choose this method which is both traditional and modern to produce his katana so we're gonna do something a little different on the lathe today typically you see is put something around on here and make something around what we're gonna be doing today we've changed this Chuck out to a four jaw Chuck allows us to reach in and grab something that's not round we're gonna drill this center hole we're gonna step it up to a larger size creating a center section so that we can do what's called man Tetsu construction we're gonna be forcing a piece of mild steel up inside of here prior to Forge welding that'll give us a high-carbon outside this is w1 tool steel and on the inside we're gonna have 10 18 mild steel and that's going to give us the flexibility in the blade [Music] why lily has been preheating the w1 section I've got the inside mild steel pin sitting in dry ice this allows the pieces to slide together with only minimal effort from the press these pieces actually had about ten thousandths interference fit and there was no way we could have put them together without doing this [Music] after Kari made the high carbon steel pipe and Wayne started in low carbon steel rod the shrinking of the outer jacket locked the core into place and a handle was welded on to the top and now it's ready for Forge welding after cutting the body of our Akane's John's now gonna plasma-cut all of his overlays that are gonna form the three points [Music] [Music] to make sure he's a clean material and where the welds have taken well billion I'll use a hot cut cuts most of the way to create his tip form pulls the piece in water that allows the tip to just break right off this is the extra material I cut off ahead matte polish an etch the cross-section the white oval is where our soft core is and the black is the high carbon outside now you might be wondering if I have a low carbon insert will it affect the point will it affect the edge no this is why the Smith Clips over the tip this way and forges it over I drew a chalk line approximating whether it's soft insert will be and when I forged the piece over I moved the soft all the way to the back thus not affecting the cutting capabilities of the sword using the face of a cross peen hammer Ilya bevels this entire blade he'll do it in a couple of different heats this will allow him to control the curvature a little bit more he won't have to deal with straightening as much [Music] gingy is the master swordsman in shuriken user and younger brother of the schemata clan Hanzo being the oldest and a master bowmen Ginji disagreed with the clan dealings and didn't want to have anything to do with it this enraged his older brother Hanzo and led to a very violent confrontation Hanzo thought he had killed him but he was turned into a sideboard resulting in a very robotic like sword after heat-treating we're gonna notch in the spine all the way down to account for some overlays and some lighting fixtures but to get things started I'm just gonna do a pretty traditional grind and then handed off to Ilya for he treat [Music] while the surface of the blade is cleaned up it's ready to receive the clay here I warmed up my stolen on which it makes the clay well the clay actually does it protects some of the blade from exposure to the quenching medium in our case is going to be oil when working with modern materials the cleaning of the blade is entirely unnecessary except for maybe aesthetic purposes however we still have to attach fiber optics and electronics to the back of the blade and it's way easier doing that when you're working with a soft part of the blade rather than hard so one can argue that this procedure for this specific build is completely necessary [Music] that of John's welded these up for Genji Jerkins so we're going to go ahead and start grinding the edges on these either real thick right now and we've got to get these real narrow so they're nice and sharp for throwing being very careful not to bump the clay off on the sides of the furnace Illya watches to bring the sword up to a nice long even heat brings it out and then takes it into the oil quench as the blade comes out of the oil quench and before it fully sets up Illya goes over to the Vice checks it for straightness and then sets it up or let it cool [Music] after quenching and then tempering the blade the time to get it closer to its final shape [Music] for these katana blades you don't really want to add a secondary bevel when you're done polishing they should be darn near sharp that has taken the blade through most of the grits the sword has a pronounced kissaki which means the kodaline the differentiates the tip from the rest of the blade is very prominent normally this is set up a flat wet stoves however a platen grinder such as what we have here is a decent replacement for such [Applause] [Music] up into this point the shaping of the sore blade has been mostly traditional but from here on out we're gonna do some modern techniques to make this a blade that a cyborg would use so first step I have to do is I'm gonna trace our overlay we're gonna sandwich the blade on either side with two steel overlays underneath that's gonna be some plexiglass and then some lighting along the spine to give us that green dragon blade glow that we all love and game so from here I'll pull out what I drew let's all go in and tweak those and make those all perfect then I'll hand it off to Carrie and I'll get to or ladies cut for our hilt and our handle assembly I'm gonna cut one part flat and then we're gonna hot form it around same here two pieces hot formed over my power supplies are gonna be hidden in here where this round cylinder is so we'll just get all our parts cut hot formed and get rolling now that we have our designed for our overlays finalized Carrie's gonna put them into the plasma computer and cut them out we need one for each side of the blade so he's gonna mirror the drawing and go right to it [Music] the material that we decided to make these overlays from has been sitting outside for a little while so it's got some surface corrosion since that's the case I'm going to use several Sanders with progressive grits rough off the material and then fully finish the surface after hand plasma cutting out his patterns Illya is now gonna move out to the forge he has to turn that flat piece into a nice round of eight piece the bulwark is the guard for our sword these overlays they're gonna lay on top of this blade and they're gonna cover the diffuser we're gonna make our diffuser in lexan we have here we'll cut that it'll be underneath and then we'll be able to set full strip of LED panels underneath and that's going to diffuse the light and give us the glowing edge I may have to do some sanding to get an exact fit I'm gonna go to this small band saw and cut out the plastic to make it match as close as possible to the steel overlay [Music] using the sheetmetal overlay as a guide Carrie now matches the notches up on the plexiglass he's going to cut them on a bandsaw and in true a month later by hand since he free-handed his pattern he realized after forming that it's a little long it's gonna trim the fat then weld it together and make that weld nice and flush to the rest of the surface so I've worked out how this overlay and lighting system is going to work so I've got this tape down but it's actually double-sided so I've got LEDs on both sides I'm gonna notch into the steel it's gonna sit on the back of that spine the diffuser will lay overtop we'll have to cut the back of it to make sure that it gets right where we want it to be in the final once we have the blade satin and polished it should really show this and should diffuse the light over the entire surface now that we have everything fit just right to the blade it's time to start welding it together John's gonna use an aluminum spacer just to make sure there's thickness to stay true weld the seams and then we'll blend them all off on the Sanders [Music] she has video adapter pieces do there's quite a few pieces that go together to make this handle the first is the one that's gonna hold our cylinder and it's also like a trigger guard Ilia formed it and now he's cleaning up on the scotch brite wheel to give it a nice satin finish after looking at this pummel we realize that it's a lot like the production pommels that we make on a day-to-day basis I'm gonna go to the Sanders grind a bevel and then knock all the corners off should be about ready for assembly [Music] this handles a lot like a traditional saya but has a futuristic looking shape Billy's going to sand that shape then return to the mill to carve all of his detail in if you look at the dragonblade you'll notice that it has a green cylinder underneath the guard I believe this is a power source we're just going to use some tubing cut it to length and paint it green later [Music] so we have the majority of the pieces here ready to go this is our diffusers we've sanded one side of them so that they're smoky now so they'll be a little bit brighter they'll hold that light better and transfer it our cover is going to get blackened and but everything should fit up on the blade nicely now this is the primary section of the guard what will become our handle with some overlays we've got some color to lay in a little bit of shaping in some detail and then to finish it out you'll see that pommel that Matt made on the end overwatch has quickly become one of my favorite games to play this build was our first from the series and I'm very proud to say that we've brought ginji's dragonblade to life [Music] [Music] you once again on man-at-arms were returning to League of Legends we're going to build the nameless blade of Yasuo the Unforgiven this sword is kind of an over-the-top katana build with some really fancy fittings so obviously I have to hand this off to illios going to do all the blade forging we're gonna do some really cool hollow forming techniques to do the guard in the pommel I think you guys are really gonna like this build to make the katana like blade we could start from much smaller stock and just go right to hand forging but since we have large power hammer your ma's will start from a big cube of w1 and break it down lilia is gonna go from the Forge straight to the hammer and get this thing out to a bar it's going to take him three or four heats and then he'll be able to begin the blade forging [Music] so there's a whole lot of different art this piece of art however is quite pleasing to the eye and would function quite well as a sword so what I've done is I've traced the whole outline of this guard and all the details I then pulled it out here and then separated everything these are two base parts this is an overlay that will get sculpted and then weld it onto here one on each side this overlay here will go on this base part get sculpted one on each side as well and then all these parts will get welded as one solid object now what I have to do is trace the outside of our pommel we're gonna cut our pommel out of close to an inch thick material then I'm gonna do a whole lot of sculpting on the sander afterwards but there's our perimeter scale do the same size of the guard pieces ready to cut [Music] [Music] to create the guard for this sword there are a lot of different options what I've chosen to do since Ilya is busy is we're gonna do a bunch of different overlays we're gonna layer them all up we're gonna sculpt them before we wall them together and that's gonna give us our depth and really give you that nice organic feel let's cut our parts [Music] starting at the shoulder Illya begins to do the hand beveling on the edge he'll work his way all the way to the tip and then he'll define that area as well unlike a lot of the other katana builds this doesn't have a defined kisaki it kind of just rounds up to the tip so he doesn't have to worry about that part at all [Music] [Music] [Music] all right Elliot did a great job forging this big blade I say big blade I guess as far as man arms blades go it's not that large but as far as katanas are this thing is a beast but my job right now is just a hog some material off get the edge a little thinner we're gonna leave it slightly thick so it's safe for that heat treat we are gonna clay this and give it a home own and there's a fuller down the back which we haven't done katana yet I'm not gonna do that before he treat though I'm just gonna take a little material off the edge and do some profile grinding and hand it to Elliot for heat treat [Music] I'm about to apply clay - yeah Zoe's blade Matt asked me to produce a flamboyant jamón that's reminiscent of blood splatter to recapitulate the story of Yazoo however before I do any of that I'd like to show you something this blade right here is my personal one that I'm working on this is made from traditional material - mahogany from Japan quite a bit smaller than Yaz's bleed over here you also notice that it is straight that is because traditional materials like being water quenched in the water quench the blade first curves this way and then establishes his final curve as it completely cools off that phenomenon is not present when we're quenching the steel and oil as we're going to do with yah so as the blade pulls off it loses curvature because of that I had to over carve the blade in order to set up my final geometry after the quench [Music] [Music] so we have about 10 separate pieces that are going to make up our cloud motif guard each individual one has to be drastically sculpted to give it a organic shape and feel let's start with this piece here kind of looks like a little dagger I got an edge it just like I would a knife then I got to round out this whole scroll piece and then we'll see how it all fits together [Music] after I get this piece rounded in this piece edged I'm gonna use this piece and I got to do some cutting work it's a little trickier sculpting [Music] after grinding a whole lot of detail in depth and my overlays I'm now gonna add some texture to the background using a planishing hammer I think this looks a lot like clouds and it's a lot more pleasing to the eye [Music] or we have all of our pieces now prepped and ready for welding we now are gonna start constructing the guard you can see we have a sword shape opening right here first panel is our wing like section that goes here and then what I'd like to call our yatta gan plate put our overlays on top and that's basically how it's gonna look very fluid very natural super happy with this I'm just gonna tack everything in place start off flip it over attack the other side together and then we'll do all the structural welding around the perimeter [Music] because of how shallow our heat treating forages Billy is gonna have to be very careful with this large sweeping blade he's gonna keep it in the air so that he doesn't bump off any of the clay once this piece has a nice even heat over the entire length he'll bring it out and go into the oil punch [Music] now that the blade has been heat-treated in temper I can go ahead and finalize the geometry and then move on to the polishing grits I'm gonna start at the 24 grit then move all the way through for the sake of time I'm just going to do one side so that we can get a quick peek at the Mon [Music] [Music] after sanding the blade all the way through 400 grit it's now time to move on the scotch-brite now that I've Scotch bars the blade I can really see that home own pops in the light Billy really went out of his way to make it look like blood splatter and water I think you did a great job all right we have our guard all welded together I'm gonna go ahead and start blending off that weld and where the seams show through I'll just go back a mold a little more blend a little more and I know this is a little out of order let's go ahead and get a sneak peek of what this looks like on the blade because I am excited dude looks perfect I'll just go back here add a little weld so it stops on the shoulder so it doesn't keep sliding [Music] we're now getting ready to cut the pombo for our league of Legends spilled I'm going to cut it out of a piece of three-quarter inch mild steel the basic design of the pommel and guard are based on a Japanese cloud style motif so we're going to cut the perimeter and our CNC plasma and then Matt will sculpt it to shape to give it that cloud pattern all right John's cut me off the perimeter of our pommel you can see I drew in there with a sharpie some details I'm gonna use the corner of this sander and this sander mostly but we're just gonna go ahead and get to sculpting thing I have to focus on the most is doing the correct order of operations because it has so much depth and layered if I sculpt one first that needs to be lower than the other so on and so forth probably gonna hand it off the Ference at the very end to do the inside of this curl just because I don't have a wheel that small up to get in there and do that [Music] a scotch-brite wheel that we use on this machine looks like it's very hard it's actually a soft wheel that does an extremely good job of blending and polishing forms [Music] Jarnell wraps the cord over the handle this will both give an ornamentation and a much firmer grip [Music] scurry back to your shadows ninja everyone faces a reckoning [Music] [Music] [Music] [Music] Ilia really has been looking to do a traditional katana bill we looked through many of the requests and Kill Bill is the one that really stood out for us in the movie hattori hanzo builds this blade but they don't really show you the process so we're gonna take it right from dirt all the way to finish sword we're going to start this sword from raw ore it's going to take about six hundred pounds of charcoal just to form the bloom and then from there another five hundred pounds to form the sword if you're going to make your own steel for a sword it never hurts to bring in the experts in this case we bring in hey Zeus Hernandez mark green and Zeb Deming some of the best guys out there creating steel for more carolina easier is a limonite brown dwarf well North Carolina there's a the whole mountain of it that I in prehistoric times iron was imported into Japan from China and the Korean Peninsula eventually Japan developed its own smelting techniques the Japanese smelting involved a furnace called the Tatara we use the construction characteristic of the pre edo period like the gates of hell the Satara works by letting or flow down the charcoal where the iron separates from the slag and slowly picks up carbon before landing on the bottom as a lump of bloom or tamahagane so our plume was kind of crumbly we have a couple different pieces about this size we're gonna work these down individually into the play we've noticed so many of you asking for more traditional techniques on this build we had to build almost every tool from scratch starting with the coal Forge straight down to the Hammers that we're using the initial lighting of the charcoal Forge is done using a traditional method using a heavy traditional Japanese hammer Sam strikes a cold piece of steel until it turns red hot and lights the tinder we've in place the tender into the Forge and cover with charcoal [Music] and this is why I told you people to wear hats what do you need you cute this is what is called to Mahagonny in the Western tradition is called bloom steel bloomery steamed by itself these ingots enough very clean steel it contains a lot of slag sand and bits of charcoal what the Smith has to do now he's placed him in the furnace get them hot and flatten them out there by consolidating the small bits as the tama Ghani achieves temperature the dirt and slag inside is liquefied and will be pushed out during the consolidation process since the material is so hard to produce every little bit counts though you'll listen to the hammer blows and this material being like a sponge you'll hear it consolidate on the anvil going swish swish thump and that's when it turns into a solid cake after forging the small piece is flat we quench then this not only breaks off the scale but also shows us the structure inside the steel whether it's either cowl Gani or shin Gani and determines where we'll be stacked in the billet the grain along the breaking point of the toe mahogany shows me how well it's consolidated it shows that this is high carbon steel that is going to be a cobble Gani the pieces that bend a low-carbon steel and they're going to be the Shangaan II that is the heart of the sword after breaking each piece Ilya now carefully stacks them he'll then be coating the billet with paper and then with clay and going into the heat to begin his consolidation de clang a gnashing of the stick billet serves a dual purpose the clay keeps the little tiles from falling off into the fire as well as prevent the oxygen from D carving the steel bloom steel into mahogany lose carbon in the process of foraging very fast faster than modern steels because of the enlarged surface area now watch carefully for the appearance of sparks on top of the furnace that tells me that the abilities at welding temperature after this parks first appear I wait a little bit and then take it out and bring it to the end but when Matt helps me weld it all together Ilya is gonna remove the billet he's gonna place it on the anvil his other hand is gonna be holding a flatter and then I will be striking lightly on the surface of the splatter just to consolidate lightly we're gonna do several heats of this you see we're just lightly tapping it it's already starting to get a lot more solid as I'm hitting there's no bullying the metal you have to go with the flow however it wants to be hit you kind of have to just work with it every piece is different so at this stage we're actually doing much better than I expected now that we've done the initial consolidation by hand Illya is going to go to the power hammer and do a little bit more with that but the bigger flatter dies that'll give us a even squish although the myths and legends of Japanese Smith suggest that they only use hand hammers mini-documentaries can be found of Japanese Smith's using power hammers similar to this khatai is the process of heating and folding the steel this process utilizes the phenomenon of carbon diffusion as carbon travels through each layer it eventually evens out and gives us a homogeneous billet that we can outdraw out into our sword the material which in the first couple of folds is rough and full of slag and impurities doesn't really like to fold to be as malleable as that will later on once the folding process is purify the material so you notice not only are we hot cutting the billets this way we're also doing it this way long ways this allows us to really release some of those impurities instead of just pulling them in on themselves over and over and cut them different directions and even later on we'll probably go diagonal it also made these dyes for the anvil this allows us to place the billet after it's been cut halfway through and really push it down in and begin the folding process as you can see that last fold it's a lot more solid we kept the two pieces together we didn't have any splitting it's really coming together probably have another half dozen to a dozen fools before we even begin to attempted to draw out to a blade but we're really getting there really happy with the progress for me isn't preparing the string Gunny the heart of the ceiling I have some time to talk about what difference in a traditional Japanese sword as opposed to the one made from modern tool steel Kokoro hard to mined in Japan ease in Shinto and sell every single entity every object has its own commie spirit thus it has its own cockerel heart the job of this myth is to recognize the heart of the material and work with it as Dogen rights in Gingin corn when we let things convey unto us that is true artistic expression but when we try to convey ourselves on to things that is delusion the inner bit which is made of Shingen has to be cut and folded just like the outer shell [Music] after folding and do an initial weld Ilya moves to the power hammer to do some consolidation before the next cut in the next fold the core is made of mostly iron so it creates very flamboyant sparks that explode from the billet as he hammers it under the power hammer just like history this process will repeat itself many times before it's fully consolidated and ready to be inserted into the outer jacket Ilya is doing the final shaping on the core it's making a slight wedge shape that will then be pressed into the outer jacket I have moved into the Sakura coma stage of forging the katana this is called forming the stock we widen the Calgon II form it into a jacket that will receive the inner core [Music] [Music] the soup curry call me stage of origin kotani's complete the heart Ching Ghani and Kawa Ghani enjoy together now moving on to the shinobi the shinobi is the process of stretching out the village into a long arm at this stage doesn't look like much just a bar but inside that bar is over three million layers one cilia begins the bevel will see a transform into what we know as a beautiful katana blade the cutting and forming of the kiss Akio the tip completes the shinobi stage of the forging now I'm ready to move to the Hazuki stage I first start on the Muny side of the blade forming the back edge then I moved to the shinobi G the back bevel that stage defines the shinobi the central ridge and from there I'm ready to move to the hah or the edge bevel of the blade [Music] one thing to note about katanas every part of the geometry is very specific and one cannot stray away from the tradition at this rate in about 20 minutes the blade is going to get ready for filing using a hardened steel scraper Ilya removed some material from the katana blade refining the shape you can see as he's doing this the curls come off smoking hot now that the blade is to its final shape Ilya applies the clay to prep it for heat treat this is one of the most important parts of making a Japanese blade this will give us our beautiful home own line up the blade the clay applied to the blade has two areas the back of the blade has a thicker layer of clay than the Aged on the chin this creates a temper line or the himoto the Hamoui itself is very hard the back of the blade is soft and that creates a combination of a hard edge in a soft spine nothing in life is eternal not in the craft of the blacksmith this stage allows some part of the craft to all class the blacksmith frozen and silent steel [Music] you know tits Ilia will stare intently into the forge there's an old Japanese saying that when the metal goes into the forge your mind goes in with it helium moves the blade back and forth in the charcoal he's being very careful not to remove all of the clay that he's packed on the side for the heat-treat temper line once the blade comes up to temperature he lifts it from the charcoal and goes directly to the oil since this is really Ilyas build I have him lay out the design for me for the minuto the Manucci ARA Norment that is hidden under the ether rap in the katana handle sizing from original minutiae from my collection Ilyas sketches out the final design I'll trace this onto copper so that I can begin the work this copper is about 17 gauge at this point I started out with something thicker but I sand it until I was happy with the thickness then I annealed it so it's very soft at this stage it's set in read German pitch and we're just gonna go right at it and follow these lines starting from a fairly simple pencil tracing I begin to chase the outsides of the lines I do this so that when I flip the copper over to create the depth that I need I'll be able to see where all my lines are supposed to be once I finished the first chasing I pull the piece from the pitch and burn it off anneal it reset it in the pitch and then drive the depth so that when I flip it over to the final side I'll have a fairly tall piece of metal to work with to get the final form so you can see the difference between the two when we first turn this over and reset it in the pitch this is how we looked just kind of a blob a little bit of a rough outline I've gone around the outside hardened my copper driven the excess copper in redefine that outside line and it lofted the center of the entire piece I'm gonna go back in and do some final detail on this and then make that one look the same as this after tracing the perimeter of his tang onto the wood le uses a chisel and a hammer to create the recess to create this shokudo alloy Laurens going to pre melt the copper once the copper is fully molten will be adding 24 karat gold so we have a couple of billets that we've made of shaaka dough they need to be hammered to form and thickness now that I've blown over the entire surface I'm gonna have to stop and soften the material again because it hardens up quickly when you hit it with a large hammer like this it'll be taken up to about 1200 degrees in quenched in medium warm water to reach the size and thickness I need of the shaka dough I continue to hammer and anneal the material using a special top and bottom die that he made himself Kerri moves to the screw press to create the shokudo sushi and kashira after drilling some pilot holes Lily uses a file to create the inside shapes for our Suba Sam solves in the slot on the SEPA this is the piece that goes between the tsuba and the hibachi [Music] iliyan now slides all the pieces onto the handle of the katana this gives us our first look of this wicked hattori hanzo killer the final step is to apply the edo wrap to the handle the handle is first covered with ray skin and then covered with long Criss crossing strips of leather the two Manucci are tucked in on either side not only making a beautiful adornment also giving a better grip to the wielder of the soil iron or copper gold leather ray skin and 1,100 pounds of charcoal in a huge number of hours the shop has turned all of that into this beautiful sword [Music] [Applause] [Music] [Music] [Music] [Music] it's like the dices it makes julienne fries [Music] this is man-at-arms reforged perhaps no blade has been more revered throughout history than the katana and today we're making the epic no dachi sword a katana style blade that is used by the Kenzi in for honour which will be available on February 14th in for honor players can step into a visceral battlefield and fight as some of history's greatest warriors the Vikings the Knights and the samurai any katana style sword over 30 inches was an oddity which made for a fearsome weapon the new da Chi that we are making is based on the real swords of the Japanese samurai in Japanese samurai translates as those who serve this mentis samurai dedicated his life to mastering the art of combat in order to defend their master legend has it that they took this so seriously that a samurai could neither be born nor die without a sword nearby now that is commitment even though this blade is can be made out of traditional Japanese 2ha magani steel and that's a pretty big deal we've shown you that several times and we usually skip over the fittings pretty quickly because we've seen a lot of requests to show more work on the fittings and the fit and finish we're going to jump right into the hand beveling of the blade and then move on to the highly detailed fittings [Music] we need some thick masses of copper for some of these fittings will be melting down some copper pipe it'll go in the crucible come up over 2,000 degrees Fahrenheit be poured directly into an ingot mold and then we'll begin forging the ingot to get the sheet we'll be making the tsuba from now the blade is forged it's time to start the stock removal portion of this build I'm just gonna follow the guidelines that Ilias forged into this blade already take out a few of the little bumps here and there and then I'll hand it off to him he'll get it clayed and he treated because this material is so precious and we are going to be quenching it into water I want to make sure my edge thickness stays nice and thick just to play on the safe side so you'll notice I'm taking my time make sure I don't remove too much material [Music] after annealing Rick and I begin to drive this and get down on itself we'll need to anneal it several times as it begins to flatten out it'll give us a better consistency of material that we can cut and form the tsuba from [Music] it is a tradition in Japanese swords to prefer differential heat reading that is usually achieved by masking off the back of the blade with clay and leaving the edge uncovered if you notice there are small lines of clay extending from the back clade to the edge those are called Asha lines the purpose of Asha lines is to introduce smaller regions of softer material extending from the back to the edge that prevents shipping that might occur during combat so we've continued to reduce this ingot down and we have a fair amount of material it's much more than what we need so we're gonna keep working this down we're gonna get it down just above a quarter inch and then solve pierce and cut out the entire piece for the tsuba I'm still mostly doing roughing work and I'm also doing some grinding so I'm not gonna worry about hammer marks too much now the clay is nice and dry on the surface of the blade it's time to heat treat since this is really precious material we are taking a risk going in the water but we really want to show you this as he removes the blade from the quench you can see it's gained a lot of curve it went in straight and came out just right using the template that Elliott gave her Barnes now going to lay the design onto our copper disk and then use a salt you pierce it out now the shape is cut out arms gonna go around the entire edge with a file making a nice clean bevel the middle of the handle the sukkah has a copper ornament the game designers executed that in a very Victorian style so consequently I'm going to use a set of chisels for us to liner to outline the design then I'm going to use a planishing chisel to push the design back the pitch which fills the ornament is going to push the design up and at that stage I will rotate two more finer set of chisels to do all the detail work [Music] [Music] [Music] so now we have the copper Suba finished the outside edges are all done the surfaces are just about where they're going to be before we patina what we've got to do now is we've got to fit it to the blade we already have a steel Suba that's fitted to that blade to make sure that we could get this shape right so what we'll be doing now is we're gonna overlay this I'm gonna scratch in the ink the shape of that hole drill the hole Sall pierce all the way around till it fits and then we'll do all hand file fit to the blade what I have to do now is to produce a hormonal engraving on the blade so here I have a rough outline where the jamón is the reason why I did that I want to constantly see how close I am to the hard edge that way I don't damage neither my tools nor the sword here is the rough sketch I'm going to generally follow the plum blossom motif that you see in the game for the brass embellishments on the tsuba I'm going to be punching these brass sections out on this pepe tools punching system what we'll do is we're gonna punch them all see they're fairly small they're about a half-inch rather than drilling through and putting rivets which was a consideration these are going to be soldered directly onto the piece so I'm going to punch out 20 of these there's 10 on each side I'll clean them up a little bit go a little solder on them they'll all get set directly in place where they're gonna go and then we'll come in with a torch bring the whole piece up to temperature when the solder sets down we'll see everything kind of fall into place bring it off let it cool it'll be permanent according to the samurai code of conduct or Bushido the way of the samurai is found in death this is what helped give them their warrior spirit a samurai would rather die than fail and be dishonored and were prepared to do so in every battle without a fear of death a samurai could reach a state of mind known as machine or selflessness they have become one with their blade and give themselves completely to their training becoming ruthless killers capable of the swiftest combat out of all the fittings in the craftsman makes the hibachi is the only part of the fittings that permanently stays with the blade while the rest the to wear the Fujita Cara the Sioux community can be all switched around for different occasions the Bakke is crucial as it is a structural piece rather than a decorative one and is formed specifically to that blade the way it is done you stretch out a piece of copper create two offsets on one side and then one offset in the back it is very similar to the way in the West people make axes at this point you form it around the tang and then file it which is what I'm gonna do now all I have to do is rough filing and rough shaping remaining all the hammer marks and setting up my general form now that he has the surfaces prepared the way he wants for a finish Illya can go in and lay in the engraving on the hibachi [Music] there are several ways to create a two-piece or 2-tone hibachi in this case what we're doing is working directly with the copper and laying 24 karat gold over the back section on the hibachi you've seen that Ilia is already engraved this section we put some tape over it booth to protect it and to keep it away from the plating solution gold plating solution has 24 karat gold directly in it it'll allow the electricity to flow through positive our negative here which is attached directly to the Ibaka we're going to be laying this solution down you'll see how to adhere pretty quickly we'll put on two or three coats over the entire piece and then we'll be able to peel this back and see it's eugenic finish [Music] for the Kushiro which will also be the pommel for this sword the entire piece will be raised from a sheet of copper it'll first be dished from this side then it'll be raised over a stake I'll be working around the concentric rings to keep it round we'll trim it then Illya is going to take that piece it's going to get cut carved and fitted over the existing handle [Music] as you can see now we've gotten quite a bit of height we've gotten much smaller it's about the size and we're gonna be when we're finished these sides are almost gonna be straight on this before we take this piece to be oval but it'll be only about that big so I'll keep driving it in and hammering it until that surface is brought all the way in Carey's done raising and planishing the Castro the Palmer for the sword and I'm prepared to engrave it the cutter on the sword is characteristic of early tachi Carthoris would they cut out right here I'm going to engrave the piece first and then cut it out because it's easier for me to hold it with my holding stick right here if I cut it out first the piece will start moving and responding way too much to the blows of even this tiny hammer [Music] it's time to move to the mill and carve out the recess and then we'll follow all the shave later [Music] [Applause] [Music] [Applause] [Music] [Applause] using a small hand hammer on the end of the horn of our anvil Illiad goes in upsets the end drives it back and rolls it over creating a bead once this is in place he'll be able to place a plug in the end of the copper to support it and take a chisel over the edges to create the roping using hand chile's and a mallet Lily's gonna very carefully carve out the recess for our tang this is the beginning of the sukkah [Music] now that both sides of the handle are recessed it's time to clamp them together and glue them up once they're glued we moved right to the sander and start forming it to shape first thing you want to do is get your length and width then you're going to knock the corners and round everything over Jen now uses a razor to cut this Rhea skin usually you would see us use a sharp pair of shears or large scissors for something like this but in this case this material will destroy the surfaces and edges so we need to use something disposable [Music] now that second coat of glue is applied we'll let it dry then we'll come back and put it together [Music] the fishy or the fitting that is closest to the guard on this sword keeps the handle tight and allows to be under compression from the cooky pin that holds the entire sword together I was able to make it quickly from a piece of copper pipe once it's to form billion outputs in the serious work [Music] the last stage in polishing the Japanese sword is to burnish the back and the shinobi G the purpose of burnishing is to close off the natural porosity in the grain of the steel that produces a rich dark mirror finish [Music] even though this handles in two pieces it's going to be the largest handle that John's wrapped for length he's got to make sure he has just the right amount of cord he'll take his time keep everything tight and lay it all in place at the very end it'll be tied into the kashira [Music] [Music] Noah said that the ancient Japanese sword smiths put everything they had into making the perfect weapon including their very soul of course there's really only one way to test a blade [Music] until next time stay sharp you [Applause] [Music] [Applause] this year 2016 is the 400 year anniversary of the downtown manual in honor of this anniversary we decided to make that sword the Don Dao is the longest of the Chinese two-handed Sabres it comes out of a tradition dating all the way back to Qin Shi Huangdi unifying emperor of China it was recorded in the manual called the Dada fashioned by man named chung dong-young in 1616 if the first manual of its kind to incorporate illustrations along with each technique and also to write down those techniques in a straightforward fashion rather than the palms and things of the time our friends at Smith and Forge have once again challenged us to use 19th century techniques and to do that they've shared this large rolling mill with us this rolling mill actually came from victory racing plate where it's made horseshoes for the last 80 years in addition to using the rolling mill we'll also be using the Smith and Forge bradley power hammer that they shared with us on a previous episode we're gonna be using some earlier techniques as well there'll be a lot of handwork that you would have seen going right back to the beginning of the Iron Age here you see a smelter similar to the early period Tatara and the Chinese smelters we used iron sand to turn into steel as the iron sand passes through the charcoal it is reduced it is separated from the slab molten glass and the steel the steel lands at the bottom in the slag comes out right below my feet now that we've been running the smelt for about an hour time to start slag tapping Ilya use an iron rod to plunge in about four inches from the bottom we're leaving that slag from our blue [Music] we have to remove the slag from the bloom well it'll block not only our inlet for our air but also contaminate that bloom and make it a lot tougher to Forge later we've been running it for a ready 5 hours and soon very soon a piece of blue the steel that we made from sand is going to be birthed out and made into this fine sword it's finally time to remove the bloom we decided to go the traditional route and knock the whole smelter over and remove the bloom that way [Music] [Music] [Music] now bloom was so big we couldn't extract it whole there's more still stuck to the walls in the bottom of the smelter however the whole smelter is too hot to safely extract all the pieces at the moment after collecting all the little pieces of the bloom we stuck them all together and get rid of the slag so now Matt is assisting named preheating the billet in the charcoal forest so we can continue with the consolidation and the folding next I'm going to go to the Bradley power hammer and start slowly massaging the bloom all together into the perfect shape so we can cut it and hold it [Music] it'll even out directs me while I strike he's not only gonna tell me where to hit but how hard to hit and how often [Music] folding gets rid of impurities and makes it an erogenous billet into a homogeneous piece of steel once the steel is homogeneous it is ready to produce the blade [Music] since we don't have a lot of time on this build we're gonna go ahead and move to the Smith and Forge power hammer to speed up the consolidation a bit some people might consider this cheating but if you watch a lot of documentaries of traditional forging they often have a power hammer just like this [Music] the 19th century is known as the Golden Age of mechanics the power of human muscle has been divested onto the power of steam electricity and cold steel Europe United States Asia have all started industrializing in producing steel rolls wrought iron in crucible steel in mass the shops of Sheffield use giant rolling mills to roll out sheets big enough to cover the side of a ship the rolling mill right here the power hammer over there have made mass production possible I'm gonna be working from sterling silver ingots they weigh about an ounce and a half we're gonna be taking them down from eight inch thick rolling them all the way down to 18 gauge in a single strike [Music] Don Dow came about at a time when China was threatened in the north by Manchus and Mongols and in the South by piracy it's not knowing why two-handed swordsmanship had a resurgence at this time but perhaps it was because when you're dealing with a mounted opponent as a foot soldier it's very useful to have a long grip it adds a stability for counter cutting cutting the horse going by and also defending yourself and that particularly long blade allowed the foot soldiers to be able to reach a rider as he passed by sadand I was also particularly effective weapon against the Spirit which is a very common weapon on the battlefield of the time the long grip allowed one who deflect powerful spear and the particularly long blade allowed my bill to move in close and deliver a counter after a long discussion with Scott he pointed out that most single edged Chinese blades have a hardened edge insert so Ilya decided to use some w1 using our w1 insert as a hot cut tool he cuts into the bloom instead of removing it like you'd normally would with a hot cut he leaves it in there lets it radiate the heat so nothing will scale up returns it to the forge brings everything up to welding temperature and then Forge weld it together now time to turn our billet into a sword Illya moves to the bradley power hammer and starts drawing his bar out [Music] you can see him here using the hit turn technique but she keeps everything nice and true that allows you to draw it out a little quicker and keep your even heat the last step to do before beveling is to remove the excess material off the end of our bar Ilia holds a hot cut tool as I strike afterwards he throughs it up with a file and then forges that point over to the proper shape now that we have our bar forged out to length it's time to start laying in those edge bevels Ilya is gonna start on the back spine and then flip the blade around and start working on the edge [Music] while Ilya is forging in our bevels on the blade figured now is a good opportunity to show you the layout for our piece Scott Road L was nice enough to provide us with a one-to-one scale drawing of this sword the suggested length is 35 inches of blade that's from shoulder to tip and then the cross-section was measured every five centimeters all the way down the blade so it really gives us a good indication of what the taper should be on this blade some of the major differences of Japanese and Chinese construction are up here at the point where there's no defying the sake it just rolls right in down here at the tang where our pommel is not just kept on by the Micucci fin it's actually pinned on you can tell by this little part on the tang so instead of like Japanese construction where those fittings are put on the wood and everything's held on by the Micucci pin this has a makuu B pin and the pommel is actually peen and it's a little bit heavier so it works as a counterbalance to really give you some more leverage on this really long sword [Music] since Smith and Forge once again is challenged to use old-school 19th century and before techniques I can't use my Sanders so I'm doing the rough forming with a draw filing technique it's really not that big of a deal since Ilya forged the bevels both the back and the front about 90% of the way through already just using the file and truing up those lines now I'll hand it off to him for heat treating [Music] so Kerry has rolled up the metal and brought it over to me I have painted it blue and inscribed the design that Ilya has given me on it we're cutting out two dragons instead of doing a die press to get to exactly the same or to etch out the pattern we're going to use a traditional jeweler's saw the fine saw blade with the teeth that go down and out so I'm going to put the metal on the bench pin between the V's so it supports it I'm going to take the saw blade and slowly start to get it to catch and I'm going to saw it and follow the pattern and I'm going to let the saw do all the work I'm not going to push on it because the minute I push on at the blade will break we keep the saw blade extremely straight so that we don't have any beveled edge happen which will make it easier and we don't have to do any finish work before Ilya is going to inlay it [Music] we now need to anneal or soften the metal this will allow Illya to be able to force it into the cavity when he inlays it into the iron [Music] while the blade of the dumbbell is going to be made from the seal with smelt ourselves the fittings mainly the guard are going to be made from this Victorian era wagon wheel well we'll have to do is to eat it up in the charcoal forage cutter in half heat it up and take it to the rolling mill to reduce the stock to the appropriate thickness much like the original way that wrought iron was produced we're going to be using this large rolling mill and progressively close the dies down so that it makes it thinner and thinner to reach our final thickness after heat of the wrought iron and handed off to Kerry as he pushes it into the rolls Matt is catching the reduced stock on the other side we have to do it multiple times to get the dimensions we need [Music] we might have been a little bit overzealous getting this new awesome tool all that wrought iron stretched only for this small piece I've already cut out my guard from this big piece of wrought iron and now I'm starting to file the edges so they're completely smooth which will get me ready for the inlay of the Dragon fix the guard to the blank of wood which is now clamped in the vise I've traced the outside of the silver dragon and started carving away the background after the background has carved away I'm going to dovetail the edges right now they're like this I'm going to pry them so there's an angle and when I press the silver in like this it will occupy the empty space and be locked into the garden [Music] [Music] with this really long blade Lily's got to be super careful to make sure it's heats even so he moves it back and forth over the charcoal and when it gets to that perfect temperature he moves to the quench [Music] first step for making the handle in this sword is carving out the recess of the Tang after tracing it onto these pieces of wood Illya is gonna use a couple different chisels and just remove that wood out of his way he's then gonna clamp them both together get the shape he desires and then we'll wrap it later [Music] continuing his work on the handle he now begins to engrave the metal fittings [Music] all right I've been at this polishing for a while now really happy with this blade it looks great but it probably has several hundred thousand layers and it may be even more trying to bring out some of that pattern so you can see it's really fine so I'm having to use a little slurry and so two thousand grit sandpaper and I'm just taking my time oh yeah you can start to see it now looks great can't wait to see the beauty shots as we're now into the final assembly the last step is to add our handle instead of using a silk wrap we're gonna use a paracord wrap you'll see similar wraps like this on traditional Chinese pieces this being our first hundred-percent historical build on many ARMs with no modern tie ends really proud of all the Smith's on this one we did everything from smelting forging all the intricate inlay and detail on the fittings we stepped up big-time I think we did our first historical build justice and I hope you guys feel the same way too [Applause] [Music] [Music] [Music] click here to subscribe or click here to watch more episodes thanks for watching man-at-arms reforged we need to know what you want the guys to build so tell us in the comments below what weapons you want to see next [Music]

Channel: AWE me

Views: 1,217,449

Rating: 4.8112264 out of 5

Keywords: MAN AT ARMS, MAN AT ARMS REFORGED, awe me, how to forget, Top 5 Strongest Swords, how to forge, yasuo, Yasuo sword, gaming, AWE, Strongest Swords, Swords, REFORGED, forget in fire, History, Yasuo's Blade, Yasuo's sword, Top Swords, Kill Bill

Id: cRSeV0Bsp9k

Length: 82min 44sec (4964 seconds)

Published: Tue Apr 02 2019