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My working philosophy

Before I am writing anything about my philosophy, I have to pronounce, that I did not just see myself as a craftsmen, but also as an artist. A craftsman works with straight guidelines and templates, this is not my goal. When I begin to work with a workpiece, I do it with the joy and inspiration that is needed to make an unicum out of a piece of steel. Of course my job is that of a craftsman and of course I have to work with guidelines too, but I think what counts is the attitude, the working method. Out of this reason my deadlines are just coarse guidelines and tentative and all products are unique. Your product can vary from that shown on the picture and you cannot compare the weapons.
My workpieces arise with time, love, joy and inspiration. Through that they get their authentic and living essence. Anyway I use the word of a craftman in the following article, because I incorporate my coleagues and not all of them see themselves as artists.

All my workpieces are 100% handmade without any industrial made parts, like for example cross-guards or pommels off the rack. Every piece of the workpiece is crafted by myself, from the knifeblade to the handle, the pommel and metal inlays.

My philosophy can be summed up in these words: Tradition instead of technology. This means I try to avoid the use of machines. I am convinced that the cold perfection of the machine destroys the soul of aworkpiece. Two sentences of my past shaped me in this conviction. on the one hand my art-teacher who said: "Symmetry is the Art of the Dumb" and on the other hand an old master bricklayer said: "You have to flush the plaster with your hand, you must see the, so it lives." Those shaping sentences left positive marks and formed my way of working. To form the workpieces free-handed, without calculated perfection or digital computing, only with the measurements of hand and eye, which became tools themselves, this is my claim, to put something from me in every weapon, some kind of handwriting. In my article about the tempering of the blades you can read that I make my weapons with the "stock removal" method, so the blades get cut out of flat steel. Isn't that a complete contradiction? No, no contradiction but a neccessary compromise. I'd love to avoid every use of machinery, but then I wouldn't be sellable. The effort and the needed time would not be proportional to the price you could demand for such a weapon.
So I spare where it is not neccessariliy needed for the form and unique look of the blade and where it does not stay in conflict with my philosophy of the free hand and use modern machines as a matter of profitability to preserve my craftmanship. In other areas, such as the tempering I only rely on the philosophy of the free hand and use traditional techniques and my experience. On this way I give the weapon its soul. It is very important to me that all processes that create and shape the soul of a weapon only happen free handed and only with the experience I gathered over the years and my free hand. This interaction of tradition and technology guarantees, that real craftmanship with a soul get combined with a sellable price and the most important, to immortalise my handwriting in steel and fire.

The smiths in ancient times were craftsmen who made there weapons for a purpose, sometimes with wefts of the fashion of this time, although the smith made the sword by his own convenience and not with a caliper and technical drawings. However that does not mean that I want to grade down their working methods. I think its remarkable to reconstruct a sword as it was decades ago, it is just not my way, but if some of those collectors and too often "craftman" try to evaluate the quality of my work on the historical correct form of the weapon, I will avoid any discussion with such little minds.

Likewise I will proceed with people who complain about sloppy work, just because the tapering is not exactly straight. Such smartasses should be moved from my yard with a kick in the ass. As long as the quality and function of a workpiece is right nobody worked sloppy. I think it is arrogant to say that only blades are good, which look like they coming right from the CNC-machine- Although it should be the goal of every craftman to improve your skills steadily plus work at your best.

There may be craftsmen whose customers have got enough money to buy swords which are as neat as a pin and accurate to the millimetre, but there are also customers who are not willing or able to pay 4500€ or more for this effort and time, but they have a right to get a sword that is also neat and good. Such a weapon could be a compromise, but gut exceed such a "wonderweapon".

Hence it is for smiths like me, who are mainly produce weapons for the mid-range price segment, important to concentrate on the vital factors, because of the lack of time: Hardness, flexibility, weight, balance, swinging points, good fitting of pommel and cross-guard, proportions and its distribution, geometry of the blade and stain resistance. if those aspect are fulfilled we can face factors like 100% scratchfree surfaces, edges in which you can mirror yourself etc. Those aspect are those of the look but not that conducive to the function of the sword.

I want to emphasize again that the duty of every craftsmen is to work conscientious, but to set the priorities right, which are given through the given parameters. It is important as a craftsman to know where you should set your priorities and as a customer it is likewise important to know your criteria when buying a new sword, but also to distinguish an outstanding weapon from a sloppy made one or if it is a oustanding weapon with the handwriting of its creator.