Modern Flintknapper's Blog

Bell-Locksburg Blade

2012-01-04T08:41:00.000-08:00

I just became aware of that this blade even exists. It looks similar to the Sweetwater. You can learn more about it at http://www.arrowheads.com/flint-projectiles-and-knives/413-the-bell-locksburg-blade

Walnut Creek Pictures

2012-01-04T08:36:00.000-08:00

I mentioned the Walnut Creek Biface in my "Got Convex" article but just realized I don't have any pictures of it on here. You can read more about it at http://www.stoneage1.com/knap/walnut.html

Here are a few pictures of it.

New Web Site

2011-12-07T10:20:00.001-08:00

Please visit our new website at http://www.modern-flintknapper.com/

Interview with Jake Webster

2011-11-08T17:49:00.000-08:00

I first noticed Jake Webster's gallery on Flintknappers.com in August 2011. His unique designs and different style points immediately caught my eyes. As I have wrote before, I believe that thinking outside of the box and making your own new designs is the nature and a sign of a true artist. This is one of the basic tenants of our philosophy at Modern Flintknapping, thus our motto "Keep Pushing the Boundaries of Flintknapping".

In reading his bio on his gallery I seen he credited fellow knapper Ed Mosher as being a big help to him in his knapping development. I am friends with Ed and knew he would be attending the Flint Ridge knapin the following month, so I hoped I could meet Jake there. I meet Ed shortly after arriving at the knapin and he said Jake was coming but I left Ed's booth before Jake arrived. But before I left, someone mentioned in a discussion among several people that Jake was a flintknapping prodigy.

The next day while at my booth two guys came up that I did not know and started looking at our table display. I heard one(who turned out to be Aaron Lincoln) refer to the other as "Jake". I asked, are you Jake Webster? He replied yes. I told him I had been admiring his work on his gallery. I also told him that I had heard someone say he was a flintknapping prodigy. Jake seems like a modest person and I think this embarrassed him a little.

Please visit Jake's gallery on www.flintknappers.com and check out his unique work.

Below is my interview with Jake.

I see on your gallery bio that you started knapping when you was 12 yrs. old and you have been knapping for 11 yrs now, do I have this right? So you are 23 yrs old now?

Yes I am currently 23 and been chipping off and on since I was 12. Field flakes with an antler tine at the start, till walking around the Johnny Appleseed festival I saw a knapper. I was appalled by all the precious flint material he had that in my eyes at the time looked more valuable then gold! I watched and watched until my parents grew tired of the monotonous routine, they had to practically drag me away. Before I left this very generous knapper (Who I don't know and remains anonymous in my memory) grabbed a bag and started piling in the flakes at his feet for me! I remember hearing each "tink" as the flakes collided and thought it was a heavenly sound. The main thing that I took away from watching him was he was "beating" the stone with a large antler! I had to improvise. So one day while shooting my bow in the woods where I live. I found an old butter knife and had an "Ah ha!" moment I instantly ran back to the house grabbed my bowl of material and began striking away. Little did I know this was my first time doing percussion work. So like any kid who gets into mischief as did I because as soon as the back end of my improvised "butter knife bopper" would warp or get to chewed up to continue on, I'd go retrieve another. FROM OUR SILVERWARE DRAWER!! haha.. Mom wasn't very pleased about that one .So I waited until I was able to get my first antler billet from an auctioned off knapping kit. I was very excited.

My first drive in making these points was shear fascination and wanting to know how the heck these ancient guys where able to send a flake scar any where and every where on there points. This was all around the same time that I was getting into traditional archery and was always curious if one of these stone points would actually "do the trick", of course since man had been using them for thousands of years there was no doubt in my mind that they were stone hard killers. I then started toying with the idea of wanting to try to haft up a point and actually try. but had no knowledge of where to begin really.. Around age 15 I was able to produce thick, wavy, unstraight points that I was very proud of yet couldn't seem how to thin out my works.. It took me one more whole year just to learn how to do the "thinning" process and it just happened. Flintknapping was on my mind 24/7 I had the "bug" and so it wasn't uncommon for me to wake up in the morning and while laying in bed think of new tactics and avenues of approach in this challenging time. Most ideas ended in frustration and never panned out, but the few that did lead me further down the rabbit hole in getting a little better.

And you started out making points to deer hunt with, is this correct?

So at age 16 I decided it was time to try to kill my first deer with my 50# Slim Line Red Wing Recurve bow. I made the tough decision to pick out my very best point at the time (which was still VERY primitive) and haft it up. I told myself if i'm going to attempt this the deer is owed my very best point it was the most "ethical" thing to do anyhow when I could have been using a perfect modern steel point. So I used a ban saw to cut up three of the arrows that I put together and cut a slit and hafted them with epoxy and artificial sinew and a few days later there I was opening day of archery season with an Indiana Hornstone flint point arrow knocked.When a 6 point buck came trotting in and stopped 20yds broadside to me, I raised my recurve aimed at his arm pit and let her fly. My arrow landed in its designated parking spot that I assigned for it and that deer bucked fell over and took off running. I COULDN'T believe my eyes! I instantly wanted to go see what happened but waited a grueling 30 minutes. Dad and I looked for blood and found none. I instantly felt sick that my point didn't do the trick.. upon following where I'd seen my deer run towards I found my arrow! about 8 inches of blood on the shaft and the point plus some shaft was missing. I took a few more steps and saw my deer dead in front of me 20 yds up! WOW I was excited! I never did retrieve the point however.

You state in your bio that 6 months ago you meet Ed Mosher and Aaron Lincoln and they have helped you improve your flintknapping skills greatly. How did you meet them? In what ways have they helped you?

I met Ed about a year ago at the Johnny Appleseed festival and the battle of 1812 festival. I was 22 at this point and had been entirely self taught only seeing one live knapper when I was a kid. I knew there was still much to learn and just knapping with someone else would greatly help. I watched Ed for awhile and then got a business card from him. I contacted him maybe once every two weeks so I didn't feel like a bother to him and finally asked if I could just come knap with him and get lessons. So Ed was the first other knapper I ever knapped with and I was hooked! He answered so many questions to various things I wanted to do whether by just watching or asking. Upon my departure he gave me a coffee can and bag full of flakes and material. Truly generous. He gave me a contact for Aaron Lincoln who lives in Fort Wayne close to me and since I met him we have been knapping 2 days a week together on average sometimes more or less. Aaron helped me out with learning how to keep my notches from rounding out on me and boosted my confidence in every way! He constanty challenged me to do things I thought way above my skills. But I could never refuse a good challenge and would always strive to meet his request if not that day then I would continue until I achieved what I wanted to achieve. He gave me the skill set to never give up or stop trying.

You have many uniquely designed pieces that I would like to ask you about. Basically my questions for all of them is what is your inspiration for your point designs, do you go through a process to develop these designs or do they just come to you?

First, are the "ghost" points, these were the first to catch my eye on your gallery. You have several variations of them, snyders, corner, heart, and an eccentric. Where did you get the idea for these?

Typically my thought process in designing my points is what would turn heads. I want to get attention and known among my fellow knappers and I'm not going to get that making the same thing every one else makes. So I came up with the "Ghost" point and label each with my name so that I have something out there that is somewhat original to me. Like a signature point in the knapping community. I learned how to do this point style while knapping with Aaron over the winter and fell in love with notching points mainly because I just learned and was still learning how to get them deep. Aaron challenged me to make a fish hook like one he made and I raced to start. I broke so many of those little things and frustration had sunk in.. UNTIL I learned what I was doing wrong. Little did I know that just the slightest torque or bending force you put on a point will snap it every time and thats what I was doing to these hooks! So I grabbed a paint stirring stick cut it to match my leather pad and was able to start cranking out fish hooks! This hollowing out process became very fun to me when the idea hit me. Could this work on a point? with notches?? I don't know how many casualties of nice points I lost through this learning and developing process but it was worth it.

The "Ghost" point style ideas just came through wanting to challenge myself because every time I do I learn immensely.

You also have some small eccentric points, the "watchyamacullit" and the flint ridge point. Is eccentrics some of your favorites?

I love doing eccentrics because they allow me to be creative in any way I want. Nobody can tell me that its wrong like they might if I were going for a replica. Its my own design and they are all almost totally original. That's why I would encourage EVERY flintknapper to try some eccentric work. You will learn a lot the more you do. It helps you understand the stone better because your being challenge more and have less room for error. That means you must be more precise and actually have meaning to why and how you take each flake. Every flintknapper is different and there work is different, no two knappers knap alike, thats why sometimes you can just see a point and say thats a "Mosher" or thats a "Lincoln" etc.. detail is key! Go the extra mile to make it look how you want it. take chance hits your work will show the extra love and pride put in and you might just surprise yourself with what you can do!

You do some animal effigy pieces such as an eagle and buffalo. I really like that you do some designs that aren't in a point design. Have you done other types of animals and any ideas for future ones?

I have done several animals sharks, buffalos, eagles, wolves, bears, indian heads, turtles and even a perched bird. They are time consuming but fun because of the amount of detail required.

Other point designs that I like are the deep notched point, rocket point, crusaders shield and the neat pendant. Any comments on these points?

The "rocket" point is my newest favorite. I love the intricate sleek design and thoroughly have fun doing the fine work involved. I love deep notching as well because it keeps challenging me and my skills brushed up!

You also take some old artifact designs and add your artistic flair to them, such as the sallisaw, lake eerie, columbia and texas duran. Do you like to "amp up" old artifact designs?

Yes I love to "Amp" them up! I feel it adds a little modern in with the old and think it just adds that extra touch to my work. I know that my work doesn't and wont please every one, but as long as each piece appeals to me then im still having fun with my knapping. I find it very fun to push the boundaries of traditional points as well as modern styles. its good to do a little of everything.

As a side note, I find it very interesting that Jake and my father have similar stories as far as how they taught themselves to knap at a young age and went years without any contact with any other knappers. I believe this helps a person to always think outside of the box in their future flintknapping endeavors, because they had to think this way while trying to learn on their own.

I want to thank Jake for doing this interview with us here at Modern Flintknapping.

Val Waldorf's Illustrations

2011-06-20T08:28:00.000-07:00

In the last two editions of CHIPS Vol. 23 no 2 and 3, in the article titled "Scar Patterns An Illustrated Guide" D.C. Waldorf wrote about how his late wife Val took special interest in capturing accurate portrayal in her illustrations of stone tools. D.C. wrote quote "In her work illustrating stone tools, accurate portrayal of flake scares was everything! Right down to the texture of the material, shading of the negative bulbs, the flow and intensity of the ripples, the radial splits caused by the bending of the stone under the force of the blow, and even the "tearing" along the scar junctures that is often seen in very fine grained rocks was all subject to her pen. If it aided in the interpretation or reading of the scars, then she made sure it was there."

Later in the article D.C. gave a quote from Val which she wrote about her illustrations that appeared in CHIPS Vol. 5, no 1, 1993 which read, quote "Using arced lines, and varying the spacing between them, you can approximate the depth of the compression rings[ripples]"

If you have read my previous article on this blog dated August 7, 2009 titled "Replicating the Sweetwater blade" you will know that the uniform rippling effect of the compression rings is our main evidence in our belief that the Sweetwater blade was actually finished with pressure flakes. You can read the article at http://modern-flintknapping.blogspot.com/2009/08/replicating-sweetwater-blade.html and see pictures of the compression rings at http://modern-flintknapping.blogspot.com/2009/08/this-link-is-picture-that-shows.html

In our video "Replicating the Sweetwater Biface" we discuss this in more detail.

So I was very happy to see in part II of D.C's article of Scar Patterns in vol 23 no 3 there was a picture of Val's illustration of the Sweetwater Biface which has never been shown before according to D.C. In the illustration you can clearly see the uniform rippling effect of compression rings. I must commend Val on her ability to capture this very important feature of the blade!

I do not intend to infer that D.C accepts our theory that the Sweetwater was finished with pressure flaking. In the contrary, according to his article I have been referencing he believes it was done with percussion.

My only point is Val was able to capture the compression rings rippling in her illustrations which illustrates what we have been saying very well. I wish I would have been aware of this Sweetwater illustration when I wrote my original article on this topic.

For those who do not receive CHIPS, below is a scanned picture of the Val's illustration of the Sweetwater Biface found on page 7 of Vol. 23 no 3.

A Wenatchee flute theory

2010-12-04T14:39:00.000-08:00

Just how were the Wenatchee style points fluted? There has been much discussion on this topic. Was direct percussion used, or indirect percussion with a punch, or were they pressured with some sort of jig?

Bill has a theory. Could a simple tool used for another purpose by the people of that time actually have a dual function? That being the atlatl spear throwing stick. Could an atlatl be used as a support device for direct percussion fluting, helping to stabilize the point, remove stress from the point and allow for adjustment in hand movements to vary striking angles. All of which allow for more successful fluting with less breakage. Bill thought it was a possibility, so he designed a similar device and it has worked very well. He has successfully fluted on both sides of seven points at this time with a 90% success rate, with points ranging from 6-7 1/4 inches in length.

Bill's next goal is to flute one around 9 inches long with similar width/length and flute dimensions as the Wenatchee style artifacts.

Below are pictures of his apparatus and points produced using it.

Here is a link to a discussion of this topic on the Paleo Planet web forum. http://paleoplanet69529.yuku.com/topic/39994/t/A-Wenatchee-flute-theory.html

This is his first design.

This shows how the point is attached and secured with rope to the device. Leather padding can be used to adjust the point up/down and outwards for various striking angles.

This shows how the point is struck to remove the flute.

This is a second more modern design which allows for adjustment of the point without having to use padding. This just makes the process easier and faster for the modern knapper. This device is around 12 inches long.

The platform where the end of the point is placed is adjustable with a wing nut.

This shows how the point is struck to remove the flute using this device.

One of the fluted points using this method. Bill has left the nipple on the point so it can be seen. This particular flute is deep and wide. The flute dimensions can be changed by changing the nipple platform and the convex in the point.

The same fluted point showing the flute spalls removed from both sides. This point is right at 7 1/4 inches long.

Some of the various points made using this method. All of them have been fluted on both sides.

From Copper to Antler

2010-09-09T12:53:00.000-07:00

While at the Flint Ridge knapin, we decided to try an experiment, that as far as we know hasn't been done before. After seeing Ed Mosher, make an 8.5/1 W/T ratio from one of Bill's copper billeted glass preforms on his first try with a moose billet. Bill decided with Ed's agreement, to make a preform more to Ed's liking while using a copper billet. Ed instructed Bill as he went, on what kind of platforms he preferred for his moose billet. Once Ed was happy with the preform, he finished the blade with his moose. He ended up getting a blade with an average W/T ratio of 10.3/1! Not bad for only the second blade Ed had made from this glass.

Bill said the biggest difference he noticed in the platforms that Ed preferred for the moose compared to what Bill would do normally set for copper was the platforms were much thinner. Both Ed and Bill seemed very intrigued with the experiment, getting into some deep discussions on platforms. Bill has never used much antler and was very impressed with what Ed could do with it and Bill certainly learned a lot.

Below are some pictures, first Ed watching and instructing Bill on preferred platforms, then Bill
watching Ed's moose antler work at Tom Chissum's booth.

Below is the finished blade, like I said, W/T of 10.3/1 on second try, nice work Ed! Not to mention that Bill felt if he had gotten a few better platforms set for Ed, he could have done better.

This blade has a score of 793 using the Modern Flintknapping Scoring System. For more info. on the scoring system check out http://www.modern-flintknapping.com/grading-system.html

Schiele Knapin

2010-08-08T09:12:00.000-07:00

We attended the Schiele Knapin yesterday in Gastonia NC at the Schiele Museum. I learned this knapin has been going on at this location for 20 years but this is the first time we ever attended. It is the closest knapin to us at 1 hr. away and it is a little embarrassing that we never knew about it all these years.

It was held at a great location, outside of the museum on a walking tour trail that offers a Stone Age and Catawba indian village exhibit among other things. There were a lot of knappers and a good crowd of public walking through.

It was great to meet so many local knappers from NC, SC and VA. It is surprising sometimes how many knappers are actually out there and how much knapping has grown in the last 30 years. I remember 30 years ago, we had to go all the way to Kentucky to even meet a fellow knapper, Robbie Robinson. Robbie passed away a few years back but I will always remember that trip and watching him and dad knap together on the banks of the Ohio river in Robbie's backyard.

I would like to thank Steve Watts for his hospitality and putting on the knapin. We had a great time and I would highly recommend this knapin to anyone who can make it there.

Here is a link to the Schiele Museum http://www.schielemuseum.org

Pictures of "Modernized" Flintknapping Art

2010-05-30T07:01:00.000-07:00

Below are several pictures of examples of "modernized" flintknapping. In Bill's version of modern flintknapping, he will take actual artifact designs and add his artistic flair and change their shape/design in various ways. He may blend various designs into one piece making a hybrid point. He may also use different techniques to make the pieces than were originally used by the artifact makers of old. All but one of the below pieces are made using the flake over grinding method. They will also usually be made thinner than the original artifacts.

Beside each piece we will give the measurements, type material it is made from and a little description of how the piece differs from the artifacts. (this may take weeks for all this information to be updated)

Some have asked why I don't have a picture of myself anywhere on the website. So I thought I would add this picture. I am holding a 11 inch percussion preform made of glass.(only percussion piece in this post).

This picture was taken at the recent N. Georgia knapin. It is a great knapin with plenty of southern hospitality.

All of the below pieces are for sale. Email me at dwayne@modern-flintknapping.com for prices.

Knife Blade

Length-4.2 inches
Width-1.25 inches
Diameter-.20 inches

Made of Fancy Jasper from India.

Kirk Point made longer.

Length-4 inches
Width-1.5 inches
Diameter-.20 inches

Made of Obsidian

Smith with notches not as deep.
Length-2.2 inches
Width-1.2 inches
Diameter-.155 inches
Extra thin
Made from Fancy Jasper

Kirk Point made longer.

Length-3.7 inches
Width-1.5 inches
Diameter-.20 inches

Made of Mahogany Obsidian

Smith with very shallow notches

Length-2.5 inches
Width-1.2 inches
Diameter-.17 inches

Made from Jasper

Long Turkey Tail

Length-5.8 inches
Width-1.3 inches
Diameter-.19 inches

Made from Rootbeer

Knife Blade

Length-5.9 inches
Width-1.5 inches
Diameter-.25 inches

Made of green Obsidian.(Burnes Green)

Very long Tang Knife

Length-5.7 inches
Width-1.4 inches
Diameter-.19 inches

Made from Rootbeer with cattails.

Long Palmer
Length-4.5 inches
Width-2.3 inches
Diameter-.18 inches
Very thin, W/T ratio 12.8/1
Made from Texas Quartz(rare material)

Knife Blade

Length-5.3 inches
Width-2.3 inches
Diameter-.18 inches

Very thin, W/T ratio 12.8/1

Made from Mookite from Australia.

Kirk with wider point.

Length-2.9 inches
Width-1.7 inches
Diameter-.17 inches

Very thin

Made of Obsidian

Hardaway Point with very deep V notch and extreme ears.
Length-2.2 inches
Width-1.2 inches
Diameter-.23 inches
Hardaway's are a local artifact design that Bill likes to modernize. You may see several variations.

Hybrid of a Savannah River point and flared Smith base.

Length-3 inches
Width-2.5 inches
Diameter-.20

Made of Flower Agate.

Smith base with long tapered point.

Length-3.8 inches
Width-1.4 inches
Diameter-.15 inches

Super thin, thinnest point in this post.

Made of black Texas flint.

Double Spoke Shave

Length-2.7 inches
Width-1.2 inches
Diameter-.24 inches

Made from Texas Flint

Long Hardaway Point

Length-5.7 inches
Width-1.3
Diameter-.19 inches

L/T ratio-30/1

Made from Fancy Jasper from India.

The above piece is now owned by Aaron Lincoln, who placed it in his "masters case". We consider this a nice honor coming from a flintknapper as good as Aaron. Thanks Aaron.

Palmer Point

Length-2.1 inches
Width-1.2 inches
Diameter-.17 inches

Made from Mookite

Other side of above piece.

Extreme Tang Knife

Length-4.25 inches
Width-1.7 inches
Diameter-.24 inches

Made from red glass, ready to be made into a necklace.

Knife Blade

Length-5.1 inches
Width-2.3 inches
Diameter-.19 inches

Made from Obsidian

"Half" Serpentine Knife(in that only half of piece has a serpentine twist)

Length-5.75 inches
Width-2.5 inches
Diameter-.22 inches

Made from Fancy Jasper from India.

Biface

Length-5.7 inches
Width-1.8 inches
Diameter-.235 inches

Made from red glass.

Similar to a Pederales Point

Length-2.2 inches
Width-1.4 inches
Diameter-.21 inches
Made from Rootbeer.

Lever pressured Biface.
Length-6.65 inches
Width-3 inches
Ave. Diameter-.225 inches
Lever pressured using Bill's lever device he developed.(can be seen in slideshow Replicating the Sweetwater)
Made from glass.

Points with high and low leg.(something different)
On left Length-1.9 inches
Width-1.1 inches
Diameter-.18 inches
On right Length-1.8 inches
Width 1.1 inches
Diameter-.17 inches
Made from Mookite

Length- 6 inches, Width-1.6 inches, Diameter-.215 inches Serpentine design, made from Mookite from Australia. This is one of Bill's personal favorites.

Archery Past

2010-03-26T12:45:00.000-07:00

If you read the interview with Bill on www.modern-flintknapping.com under the "about us" header and click on "about Bill" you will see that he started making bows when he was 12 years old. Archery and flintknapping went hand and hand for Bill. His love for archery lead to him competing in archery. In 1976 he won all three divisions(field, indoor, target) of the Bow Hunter Restricted category for the state of NC. 1976 was the third year in a row he had won the field division thus he was able to "retire" the trophy for that division, which allowed him to keep the trophy forever.

Modern Ross Blade

2010-03-21T09:24:00.000-07:00

At Modern Flintknapping we often like to "modernize" the replication of artifacts. By this we mean we may make them thinner than the normal original artifacts were made. We may take a piece and reshape it in various ways. We may take two designs of artifacts and mix them, using components of both, to get a hybrid design. Or we may come up with a totally new design of our own.

This is where our name "modern" flintknapping derives from. We believe this helps keep the art of flintknapping interesting as well as allowing an artist's mind to constantly expand and come up with new designs.

Above is a picture of a Ross blade that Bill made few months back. It is 9 inches long, 3 inches wide with a diameter of .30 giving it a W/T ratio of 10/1. This is a higher W/T ratio than you would normally see on an actual Ross artifact. This blade was made using a pressure lever device which causes the large distinct flakes. This is a totally different technique compared to percussion which is what is normally used to make Ross blades

Bo Earl's "TheThin Man"

2010-03-13T12:23:00.000-08:00

Today I had the pleasure of measuring Bo Earl's "The Thin Man" point. This is a percussion piece and as the name implies, it is very thin.

The piece measures 4.1 inches long, 2.4 inches wide and .235 inches in diameter at the thickest point.

The piece has an average diameter of .196 inches and an average width of 2.2 inches giving it a super average W/T ratio of 11.2/1. The standard W/T ratio is 10.1/1(click directly on "grading and scoring" on the main site, for it is not listed on the drop down menu, to see how I figure average diameters)

This blade has a score of 637 using the Modern Flintknapping Scoring System. For more info. on the scoring system check out http://www.modern-flintknapping.com/grading-system.html

Check out Bo's gallery at http://www.flintknappers.com/store.php?sid=Nw%3D%3D to see pictures of the piece.

Here are some pictures I took of it as well.

I would like to thank Bo for giving me the privilege to measure such a piece.

Flint Knives

2010-02-13T08:32:00.000-08:00

Here are several pictures of various knives. I don't have the measurements for each one, but they all have very thin blades on them.

Blade made from Magohany Obsidian with a white Larvikite handle.

Blade made from Dacite with a wooden handle.

Blade made from Dacite with an elk antler handle.

Blade made from Dacite with a green Larvikite handle.

Blade made from Dacite with a marble handle.

Thin Fluted Points

2010-02-13T07:58:00.000-08:00

Here are pictures of several fluted FOG points. They range from 6-8 inches long and 2 1/4 inches wide and .25-.30 in diameter BEFORE the flutes were removed. Most are fluted on both sides with flutes up to 2 1/2 inches long. The one at the bottom is the thinnest of all, although it is only fluted on one side.

This is the thinnest fluted FOG point. This point is 4 1/4 inches long and 2 inches wide. It is .21 inches thick, making the W/T ratio 9.5/1 BEFORE the 1 3/4 inch flute was removed.

The diameter after the flute was removes is .143 inches, making the W/T there at 14/1!

Bill's Thinnest Point

2010-02-13T07:38:00.000-08:00

This is a FOG point. It's diameter ranges from .115 to .14 inches thick. It is 2 7/8 inches long and 1 3/4 inches wide. This gives it a standard W/T ratio of 12.5/1. Some of the removed flakes are actually thicker than the point itself. As a reference, 1/8 inch is .125

Subjective vs Objective

2009-09-23T09:12:00.000-07:00

First, a couple definitions from dictionary.com

Subjective: pertaining to or characteristic of an individual; personal; individual: a subjective evaluation, placing excessive emphasis on one's own moods, attitudes, opinions, etc.; unduly egocentric.

Objective: not influenced by personal feelings, interpretations, or prejudice; based on facts; unbiased: an objective opinion, intent upon or dealing with things external to the mind rather than with thoughts or feelings, as a person or a book.

While I believe both areas should be used when considering the quality of a piece of flintknapping work, and I have some subjective considerations listed on my main site at www.modern-flintknapping.com

Subjective considerations are left up to a lot of opinion and as the old saying goes, the beauty is in the eye of the beholder. I see some using terms such as "overall workmanship" "generally clean blade" "great style" "outstanding color" but yet it is never explained exactly what any of these words mean. It is all very vague.

And of course, all these subjective thoughts, could be argued by people in a never ending battle, once again the beauty is in the eye of the beholder.

For this reason, I prefer using objective considerations, taking precise measurements of many dimensions of the piece and running it through the Modern Flintknapping Grading System to get a score. You can visit my main website to see what measurements are taken.

Then the subjective considerations can factored in if you have two pieces of similar score.

Flint Ridge Display

2009-09-09T04:31:00.000-07:00

We had a great time at the Flint Ridge knapin. I was surprised by the number of people who were familiar with our website www.modern-flintknapping.com and this blogspot. For those of you who were unable to attend, here are a few pictures of our table.

Measuring Devices

2009-09-09T04:03:00.000-07:00

It is very important to use the proper devices for measuring the diameter of a blade. While measuring the blade it is also very important to keep the blade perfectly level, any changes in angles or twisting of the blade in any direction can change your readings. I like to place the blade where both ends are the only thing touching two elevated platforms which are at the same height(which keeps the blade level across). This gives much better results than trying to hold the blade in your hand.

Pictured above is the device I use, it is a Fowler machine tool thickness gauge that measures down to 1000th of an inch. You can purchase them at http://www.fvfowler.com/catframes.html Please note, you need a deep throat device for measuring wider blades.

The above link appears to be going to a page with a list of several types of calibers. So when you go to that page, click on "heavy duty" under the thickness listing in the following section, which is the 9th section down.

Inside & Outside Measurement TOP
Thickness	Caliper Gages	Snap Gages	Bore Gages
Pocket Style Heavy Duty Electronic Snap Cal	Internal Dial External Dial Long Range Heavy Duty Digital Models Deluxe Digital	Dial Snap Gage Electronic Snap Gage John Bull	Xtender-D Series Xtender-E Series Deluxe Cylinder Digital Cylinder Shallow Bore Gage Setting Master

Some types of micrometers may be used for measuring diameters as far as accuracy, but I have found finding ones with proper throat depths can be a problem and using the devices themselves for measuring blades can be difficult.

This type of caliber shown below, is fine for measuring width and length but it IS NOT accurate for measuring diameters.

If you read my following post, you will see just why using proper equipment is critical.

What a difference, does it really make?

2009-09-08T07:53:00.000-07:00

I was asked by someone at the Flint Ridge knapin, what difference does .05 inches really make in the diameter of a piece. When I explained that it made a huge difference in W/T ratio which corresponds with the level of skill of the knapper. The person replied "so what, if someone is over a 10/1 ratio, it is all good, why does it matter?".

While I agree, 10/1 is a threshold and thus why the points awarded in my scoring system start to increase greatly at that point. But 13/1 takes tremendously more skill than 10/1, and once you get above 13/1, every slight increase takes more skill at an ever more multiplying rate. In other words, 15/1 compared to 13/1 take much more skill than the difference in 10/1 to 12/1, although they are is only two ratios difference in both cases.

If you go from .22 inches to .17 inches in diameter on a blade that is 3 inches in width, your W/T ratio goes from 13.6 to 17.6, that is a tremendous difference!

If .05 inches doesn't matter, then why do we keep score or run a time clock on any thing in life? The current record for the 100 meter sprint is 9.58 seconds, the tenth fastest time is only .28 slower, such a small difference, why not give them all a gold medal? What about when Michael Phelps in the Olympics beat his competitor by 1/100 of a second. 1/100 of a second! Did they both get gold medals?

I agree, give credit where credit is due, if someone makes a good blade, give them credit. But I think you get my point, slight differences in diameters on blades truly can make a big difference in the skill level being represented.

UPDATE---I just realized that a little over 1 week of making this original post, that someone set a better second place time in the 100 meter sprint. The difference between first and second is now .11 seconds.

Can't Believe It?????

2009-08-28T19:21:00.000-07:00

I about fell out of my chair when I was working on my links to the Volgu blade and I found the following information. Am I reading this wrong, or does S.A. Semenov basically say The Volgu was made exactly in the same method as our theory about how The Sweetwater was made?

That being pressure flaking over percussion or a "POP" blade.

We had actually wondered about the flaking on The Volgu, because a lot of it actually had the same scarring pattern we discussed with The Sweetwater, but only having a picture to go by, made it tough to actually see.

If The Volgu, then why not The Sweetwater as well?

Here is the qoute from S.A Semenov from 1957 I am referring to:

"The peculiarity of this (bifacial reduction) is that it was a method of pressure on the edge of the flint rough-out (preform), used by Upper Paleolithic man, not just to remove tiny flakes and alter the angle of the point and shape of the (core) blade, but also to take off large and relatively thin flakes from the surface of the rough-out (preform). In other words it increased the plastic possibilities of stone working. By this means the irregular rough-out (preform) could be given a desired thickness at any point, made flatter, the end sharpened; the curve taken out of the top, edge or base."

Here is a link to the more information: http://www.lithiccastinglab.com/gallery-pages/2008januarysolutreanpage2.htm

Here is a qoute from my Sweetwater article, discussing our theory of how the Sweetwater was made, which can be found on the second page of this blog dated August 7th.

"The most intriguing part of all, he actually has identified at least 8 percussion flakes on Sweetwater, although the other 40 plus are pressure flakes. One of which, is obvious from the scarring cutting into the percussion flake from the pressure flake next to it, that the percussion flake was flaked first. So we believe the Sweetwater was percussion flaked to a thin preform similar to a rectangle in shape, then the large pressure flakes were removed, then the ends shaped with pressure flakes to finish the blade."

So what do you think?

Greg Nunn's Edge to Edge Flaking

2009-08-28T15:36:00.000-07:00

The above pictures show some examples of Greg Nunn's edge to edge flaking. I have always been a fan of parallel flaking, but just something about this edge to edge is extra pleasing to my eyes. My father purchased Greg's video and after viewing it and much work, he got it down, but due to two knee replacements, he can't use the same technique as Greg does. My father actually uses a similar technique that he does with his regular hand pressure flaking. In his opinion, this is the hardest type of hand pressure flaking he has ever done and he is no where to the level Greg is with it. I highly recommend purchasing Greg's video.

Greg's website is http://www.gregnunnflintworks.com/

This bottom picture is a picture of dad's edge to edge flaking.

This is a link to a more recent one, made the end of May 2011.

http://modern-flintknapping-gallery.jigsy.com/gallery-higher-end

Here is a link to a discussion about this topic.

http://paleoplanet69529.yuku.com/topic/44624/Edge-To-Edge

The Volgu Replica

2009-08-28T10:58:00.000-07:00

This Volgu replica is 11.63 inches long and 3.2 inches wide, it is .26 inches thick at the thickest point with an average diameter of .25 inches. It has a standard W/T ratio of 12.3/1 and average W/T ratio of 10.2/1. The average W/T is lower due to the shape and size of the Volgu artifact blade itself.(not being as wide throughout the length of the blade).

The Volgu artifact itself(also pictured) is 13.75 inches long, 3.4 inches wide and "slightly over" .25 inches in diameter. If you use .25 inches this gives it a stand W/T ratio of 13.6/1. We have no way to figure an average diameter or average W/T ratio because there is no cast available of the blade. The problem lies in the "slightly over" part, because if the blade is actually .27 inches thick, that slight difference brings the W/T down to 12.6/1, right in line to our current replica. This is an example of why precise measurements are needed when figuring W/T ratios. Here is a good link to learn more about the Volgu and see more pictures. http://www.lithiccastinglab.com/gallery-pages/2008januarysolutreanpage1.htm Here is a link to some other pictures I recently found http://paleobox.forumactif.com/ou-voir-des-originaux-f12/les-feuilles-de-laurier-de-volgu-t241.htm

UPDATE: I have learned there is actually a cast of the Volgu which can be purchased from someone in France, although it is very expensive. My friend Jim Winn has purchased the cast and although it is thin, it isn't a thin as the Sweetwater. Hopefully in the future I will have the opporunity to measure the Volgu cast.

Picture of the Volgu blade.

Replicating the Sweetwater Slideshow Now Available!

2009-08-21T18:15:00.000-07:00

We now have a slide show DVD with audio commentary which shows the step by step process of the method developed by Bill Earnhardt covering the making of the Sweetwater Replicas.(the top blade in this picture is the Sweetwater cast and the other is the replica)

It shows the complete design of the table used, the lever device itself, the support mechanism used, correct platforming, the shape of the tip of the pressure flaker, method and technique used for the lever pressure flaking along with ruler comparisons so you can get the exact right angles to apply the pressure . All this with close up picture shots, drawings, and instructional commentary from Bill.

NO SECRETS ARE HELD BACK!

$25 including shipping, to purchase visit http://modern-flintknapping-gallery.jigsy.com/video-s

Here is a link to learn more about the Sweetwater Biface http://www.lithiccastinglab.com/cast-page/sweetwaterbifacecast.htm

The Sweetwater vs The Volgu using the Modern Flintknapping Scoring System

2009-08-18T10:42:00.000-07:00

Below are the scores for the Sweetwater, the Volgu and dad's best Sweetwater replica to date. But keep in mind I have not actually measured the Volgu. I am using measurements I found listed online and I am using a standard W/T and L/T ratio with the Volgu(since I have no way of knowing the average diameter) but using an average W/T and L/T on the Sweetwater and replica.

The Sweetwater has a total score of 6606.6, getting 3800 points for the W/T and 2300 for L/T.
The Volgu has a total score of 4083.5, getting 936 points for W/T and 2250 for L/T
The replica has a total score of 3609.6, getting 1584 points for W/T and 1450 for L/T.

The Sweetwater has a W/T of 17/1 and L/T of 55.5/1
The Volgu has a W/T of 13.6/1 and L/T of 55/1
The replica has a W/T of 14.7/1 and L/T of 46/1.

If you are not familiar with the Modern Flintknapping Scoring System, it can be found at www.modern-flintknapping.com under "grading and scoring". How I figure an average diameter can also be found by actually clicking on the "grading and scoring" link itself.

Instructional Video--How To Pressure Flake a Thin Blade--Adjust

2009-08-16T14:30:00.001-07:00

This video by Bill, titled "Adjust" gives detailed instruction and close up shots of his unique pressure flaking method with an Ishi stick. Just seeing the size of the Ishi sticks he uses alone is worth the cost.

Bill specializes in pressure flaking thin pieces. His highest W/T ratio with this method is 12.5/1 on a blade that .16 inches thick and 12 1/4 inches long. He has made smaller pieces, some as thin as .115 inches thick!

Bill has 40+ years of experience flintknapping.

Price $33 including shipping, to purchase visit http://modern-flintknapping-gallery.jigsy.com/video-s

***NOTICE***This video DOES NOT show his pressure flaking method for the making of the Sweetwater Replicas

Visit http://www.modern-flintknapping.com/flintknapping-pressure-flaking-examples.html to see some examples of his work using the technique shown in this video.

This video is dedicated in memory to Bill's younger brother Jerry who passed away in 2004. Jerry always supported Bill in his flintknapping endeavors and once commented referring to their making of bows/arrows and playing cowboys and indians as children that "it was a childhood game Bill never grew out of"

Magnified Pictures of Pressure Vs Percussion Flakes

2009-08-15T01:57:00.000-07:00

This link is a picture that shows the "rippling" effect on one of dads blades. Although, you can not tell from the picture since it is so magnified, but that flake is actually over 1 inch long and nearly 1 inch wide.(the size most associate with percussion flakes)

http://www.modern-flintknapping.com/sweetwater_blade_replica_2.html

This link is a picture of two flakes side by side on the Sweetwater cast, the one on the right we believe is a pressure flake and the one on the left is a percussion flake. We actually have better pictures of other pressure flakes from the Sweetwater that show this rippling effect in more detail. But we thought this one would make for easy comparison.

http://www.modern-flintknapping.com/sweetwater_blade_replica_3.html

Sweetwater Replication

2009-08-14T19:05:00.000-07:00

Sweetwater Replica----14.7/1 measured accurately with the Fowler thickness gauge seen on this website.

This is the best of the Sweetwater Replicas made by Bill. It is 10 1/4 inches long with an average width of 3.24 inches and average diameter of .22, which gives it an incredible average W/T ratio of 14.7/1!

This is a record for modern flintknapping W/T ratios that I am aware of.

Pictures of the Sweetwater Replication

2009-08-10T11:14:00.000-07:00

Here is a picture of the first Sweetwater Replica close to the actual Sweetwater blade in dimensions. This one is 8 3/4 inches long, with an average with of 3.08 and average diameter of .23, making it's W/T a 13.4/1.

You can see discussion on this blade at:
http://paleoplanet69529.yuku.com/topic/27509/t/Replicating-the-Sweetwater.html

Newspaper Profile

2009-08-09T14:09:00.000-07:00

The local newspaper did a profile on dad couple months back. But for the record, we never said "all knappers" goal was to replicate the Sweetwater blade.

Here is the link:

http://www.salisburypost.com/Area/060809-Piedmont-Profile-flintknapper-Bill-Earnhardt

Then a few days ago, this is the response we get in a letter to the editor. It is the second letter down. I will paste it below the link as well. For the record, dad has NEVER tried to represent any of his work as an artifact.

http://www.salisburypost.com/Opinion/080209-letters-sunday

Below is the context of the letter.

Flintknapping and authenticity

I recently read an article on "flintknapping" in the Salisbury Post.

Please don't misunderstand — I fully appreciate good craftsmanship, being a craftsman myself.

The problem, however, is that some unscrupulous flintknappers have created an extremely deceptive market.

The novice or unsuspecting amateur collector or anyone else is often deceived by these unscrupulous flintknappers.

Many true collectors have spent hours, days, weeks, months and even years talking fields, creeks and riverbanks, searching for true artifacts.

This is extremely frustrating when you know there's someone sitting at home chipping out a reproduction in 20-30 minutes and then possibly selling it as a true, ancient artifact.

I sure wish these guys would start woodcarving, etc.

After all, an appraisal of authenticity for just one flint point is $20 to $30.

— Tom Lewis

Salisbury

Replicating the Sweetwater blade

2009-08-07T18:30:00.001-07:00

Visit www.modern-flintknapping.com

I bought my father the Sweetwater cast for Christmas in 2008. I will never forget the look on his face when he laid eyes on it for the first time. He sat in total amazement of the blade. I could read his mind, how was this made he was wondering.

After the initial shock of it, his quest to figure out just how it was made began. Dad has always "thought out of the box" in his flintknapping work and coming up with new ideas or new ways to do things has never been a problem for him. For many years, this was out of necessity because he had very little contact with other knappers, just because they weren't many around. So i believe this helped to keep his mind open on his flintknapping projects. So i had faith, that if anyone could figure it out, he could.

We spent many a hour studying the platforms and flaking patterns and discussing possible options to how it was made. He spent countless more on his own, on a nightly basis, studying the cast.

Since the Sweetwater appeared to be made by percussion with the big wide flakes and that was the prevailing theory, he started concentrating more on percussion work. But he had his doubts from the start if the blade was actually percussion flaked due to the precise nature it would require to make it. You are talking about being able to a hit 1/8 inch platform prefect every time and be able to follow through with your swing without causing breakage. The hand eye coordination needed to do this for approximately 50 large flakes found on the Sweetwater blade would be an incredible feat, seemingly impossible.

He started to believe more and more, the Sweetwater was actually pressured flaked. But he had no real way to prove it and no idea how it was actually accomplished. He could get the thinness, he had actually made some that were thinner. But the width was the problem, it was too wide to hold in your hand and pressure flake. Also, the pressure required to remove such enormous sized flakes would require more force than you could generate with an Ishi stick over an extended number of flakes needed to complete the blade. But he did know, that he had produced such flakes on occasion while pressure flaking in the past, so he knew it was possible.

Although, he still wasn't certain it was pressured flaked, it was his theory. Then one day he calls me and says he has noticed something in the flaking pattern. The best way I can describe it is an uniform "rippling" pattern of the compression rings left on the blade where the the flake itself was removed. We compared this to other pressure and percussion blades, and it became apparent that only the pressure blades had this uniform pattern.(see pictures). We believe this compression rings rippling is caused by the speed the flake is removed at, with a slower removal such as in pressure, causing the more uniform pattern. You can see the rippling effect in percussion work as well, but it isn't as uniform and normally seen at the end of the flake run, when the speed of the flake removal is slowing down.

He had seen a few knappers using lever devices over the years at various knapins. He had also read about Reinhardt who supposedly used some type of lever device. So dad had considered this as a possible option to how the Sweetwater was made. Then while at the N. Georgia Knapin in April 2009, he visited Dan Spiers booth. Dan had bought our pressure flaking video "Adjust" in the previous year and dad wanted to see what Dan thought of it. Dan replied that the video showed the importance of lateral flexibility in the blade holding hand. Dan was also demonstrating the use of a lever device and suggested to dad that he should make one as well.

The problem with the lever as he had discussed with Dan, was you didn't have the lateral flexibility as you did in your hands and it took a lot of time to adjust for proper flaking angles. Dad knew being able to get the proper platforms and angles while applying the large amount of pressure needed would be the key to success, but also the hardest to accomplish.

But he had became convinced by this point that the Sweetwater was pressured flaked, and it encouraged him even more to figure it out. Then after 4 months of various ideas including a 8 foot long weighted "Ishi stick" attached to the rafters, various support devices and various lever devices(total of 17 different techniques)all leading to dead ends. He would tear them apart and start all over. This of course lead to a lot of aggravation and frustration. He atleast was learning what didn't work. Then one day, everything clicked, and it all came together.

It took 5 hours to finish the blade, having to stop and prepare platforms over 30 times. Each flake removal is critical and on the "edge" of breaking the blade. But the more he did it, the more astonished he was over the amount of pressure and force that could be applied to the stone. Once he had this breakthrough of sorts, he told me he learned more about pressure flaking in one day than he had in years. I hadn't seen him as excited about any particular technique in flintknapping in my life and he described it as a flintknapper's nirvanic experience of sorts.

The most intriguing part of all, he actually has identified at least 8 percussion flakes on Sweetwater, although the other 40 plus are pressure flakes. One of which, is obvious from the scarring cutting into the percussion flake from the pressure flake next to it, that the percussion flake was flaked first. So we believe the Sweetwater was percussion flaked to a thin preform similar to a rectangle in shape, then the large pressure flakes were removed, then the ends shaped with pressure flakes to finish the blade.This would explain why you have large flakes which appear to have wide platforms that would require a large billet to produce. When in actuality you are not seeing the original platform of that flake because it was removed when the ends were shaped. We also found from experience if you do not make the blade in this proper sequence, breakage is very high due to the torque applied to the blade.

So this would make the Sweetwater a POP blade(pressure over percussion), which is a similar technique to what some modern knappers are doing. After the percussion, it is possible there was some grinding before the pressure as well.

Of course, like many things in flintknapping, this is only a theory. We are not saying this is absolutely the way the Sweetwater was made. We are saying it is possibly how it was made.

We are not saying it is impossible to percussion such a blade, we learned long ago to never say never in flintknapping. But if any knapper can ever totally percussion a blade to the Sweetwater dimensions, I hope to be the first one to shake his hand.

Master Flintknapper?

2009-02-07T14:56:00.000-08:00

I see the term "Master Flintknapper" being thrown about to describe many flintknappers nowadays. The thing is, i seldom see from the person making such claims, as to what it takes for a knapper to be a master.

So what constitutes a person as a Master Flintknapper?

Everett Callahan wrote an article on this topic in 2000, which is the best i have found to describe the qualifications of being considered a master flintknapper. This article can be found at http://errett-callahan.blogstream.com/ I like Mr. Callahan's qualifications and i believe it is interesting that he list the capability of making the Solutrean laurel leaves as a skill needed to be considered a master, since the Volgu laurel leaf scores the second highest on our scoring system. Mr. Callahan states there are only two living flintknappers he would consider as masters, Gene Titmus and Jacques Pelegrin.

I can not find much about these two gentleman online as far as examples of their work. Have they actually made laurel leaves comparable to the thinnest Volgu? If so, someone please let me know where i can view such work. I am not saying that they haven't, i just haven't found it and i would love to see it if they have.

I think Mr. Callahan has covered it pretty well concerning the mastery of replicating actual artifact pieces.

But what i want to concentrate on here in this article is what constitutes a master of modern flintknapping. I do not have a concrete standard at this time, but i am thinking if someone can make a percussion or FOG piece with a W/T of 12/1 or higher along with a Modern Flintknapping Grading System score of around 3000+ for percussion or 4500+ for FOG then they are a Master. If they can do either a FOG or percussion piece with a W/T of 14/1 then they are a Super Master.

And if someone could fit Mr.Callahan standards to be Master as well as being a Modern Flintknapping Master, that would be totally amazing! I guess at that point they would be an Elite Super Master?

I just think flintknappers should think about this topic and not be so quick to throw the term "Master Flintknapper" around so freely and without making qualifications to what that actually means.

Visit www.modern-flintknapping.com

Got Convex?

2009-02-07T14:50:00.000-08:00

Must a biconvex exist in every piece of flintknapping work?

John Whittaker, in his book American Flintknappers, says that they must. I respectfully disagree, contrary to what Mr. Whittaker states, not all of the old artifacts have a biconvex. Although, i agree certainly most of them did.

One that i know of is the Sweetwater biface. It is actually thinner at some points in the middle of the blade then within 1 inch from the edge. So it would actually have a "reverse convex" so to speak.I have been told(never seen a cast of it) that the Walnut Creek blade actually has points where descending flake removal makes it have a reverse convex as well.

If a knapper strictly wants to replicate an artifact that has a convex in it, that is fine and great, I DO NOT condemn them. But what modern knapper wouldn't be proud if they could duplicate the Sweetwater, Walnut Creek or Volgu blades?

If we agree that making a thinner piece takes more skill, then why not push the envelope as far as we can go with it. If you are capable of making a piece with no biconvex, i say more power to you. Otherwise, we are putting constraints on the art of flintknapping, by "allowing" knappers to go only so far with their abilities.

I would compare this to the art of painting pictures. Sure, the Mona Lisa is a great piece of art work. But today are the modern artist still only painting the same style of paintings as they did in the past? Of course not, we have modern art. Since flintknapping is another form of art, why not progress it into new techniques in modern day flintknapping. Of course, at this time, with percussion work, i know of no knapper who can match the Sweetwater, Walnut Creek or Volgu.

FOG pieces is another matter, i have pieces in my possession that although do no sink in the middle like the Sweetwater and Walnut Creek. They are completely flat across each side, with no biconvex existing.

Gotta have a convex? I think not, lets match some of these thinnest artifacts mentioned earlier. From there, where does it go, who knows? But that is the interesting part of modern flintknapping, it is a never ending process of development.

Visit www.modern-flintknapping.com