I'm Matt. I'm Kerry.

We are the Stagmer brothers of Baltimore Knife & Sword.

We're gonna be building some of your

favorite weapons. And some weapons that you've

never seen before.

This is Man at Arms Reforged. So we're going

to be making Excalibur, King Arthur's sword

from the new game King of Avalon

done by FunPlus. They sent us some

really detailed images. Ilya had to do

a few minor adjustments to make it

really on steel, but for the most part

we're gonna work straight from

their designs. The first thing I got to do

is trace these two central plates here and here.

We'll cut those out on the plasma

everything else will be handmade

forged or fabricated. We could just trace

this all the way through, but we know

that these pieces are symmetrical

so we'll just mirror it over. Now we can cut

two of each of these, they'll be stacked

on top of each other

to create the central portion of the guard.

One of the really cool things about this

whole project, is that this sword that we

make will become the sword in the game.

Can't beat that. This Excalibur is gonna

have a lot of engraving. So i choose 1045.

This is the same steel I make my hammers out of.

What I know about this steel is that

I can engrave it fairly efficiently and

it responds very well to my cutters.

Let's make the blade.

I'm gonna start by breaking down this large 1045 round stock.

It's gonna draw out to a bar

and then begin the blade forging.

Ilya's first goal is to turn this round stock to square.

Every once in a while you'll see

him turn it on the diagonal to true it all back up.

Then over turn to the flats and

continue drawing it out.

Now that he's got his desired length, he's gonna

cut off the handle, draw out the tank

and define his shoulder area.

The crossguard for our sword is gonna be

made out of five separate pieces.

The forged middle section and then four

separate overlays, two on each side.

John is gonna move the plasma cutter

and get those overlays cut out.

Billy is then gonna lay in a whole ton of

hand engraving work on them afterwards.

Now that the blade is forced to shape

it's time to start laying in the bevels.

Ilya is gonna use a hand hammer

and hammer those bevels in. He's gonna be

really careful to avoid the area that

has to be engraved and he'll hand it off to me

to start the grinding. Ilya is

gonna heat up very specific portions

of this blade because it's so long.

And work his way from the tip

to the shoulder making sure his bevels are even

on both sides or this blade will just curve.

Arthurian legends and stories

have been told in a hundred different ways

and Excalibur comes in a ton of different forms.

In this case it's a beautiful

two-handed longsword with a

ton of engravings, that's gonna happen

in this panel that I drew with a sharpie up here.

I don't want to go anywhere near that

when I'm grinding. I'm gonna just

bring that edge up and taper it in

right here and here. But first I'm gonna grind in the fuller.

Here's a tip for anybody out there

trying to make swords himself.

Anytime you're gonna hand grind a fuller in,

do it before you grind your edges.

That way when you grind your edges,

you can taper that fuller all the way to the point

like I'm gonna do or just fix it

if it wanders a little bit.

So that's where I'm gonna start. I'm gonna go to

the 2 inch wheel and I'm gonna strike in my

fuller all the way down the center,

then lay in my edges. And by doing that I'll

be able to taper that fuller narrower

and narrower as we get closer to the point.

[Music]

The plates for Excalibur's guard are ready.

One is already set in pitch. This is gonna be

the overly plate that goes like this.

And on this back plate that is already

set and finished, there's not much engraving.

But every little bit little bit, as you will see in the end,

contributes to the whole.

I'm gonna be doing bright cut engraving

and it will have a little bit

background texture but not much.

You usually see me doing Eastern and

Japanese engraving and this is closer to

Western European as well as picked up

by the American School of engraving.

However I still use my old trusty tools.

I'm gonna be mostly using this hammer.

[Music]

Now that I'm done engraving the bottom plate,

it's time to pry it off and start

with the top plate.

[Music]

[Music]

So I have most of this blade run all the way

through the grits.

I just have to do the one side here on the fuller

and then clean up the flats afterwards.

Normally you see us polish a blade

after heat treating. In this case it has to be before

because this fuller has some

engravings in it. Also the flat down here

has to be nice and clean so Ilya can

engrave the dragons. I'm gonna go

diagonally on this soft larger wheel.

You saw me strike that fuller with

a 2 inch wheel, but this wheel's nice and soft

and I'll be able to just kind of go

at an angle and really jam in and push in

and force that standing belt to the shape

of my fuller and it'll polish it out

all the way down. I'll change my angles

a little bit and then I'll finish up

the polish on the Scotch-Brite wheel.

[Music]

[Music]

Matt has ground the blade and brought it to

a medium polish. I don't want to polish

too high otherwise the light will

shine in my eyes preventing me from

seeing my design and mess with my depth.

First I have to apply the basic sketch

to the surface. Then I'm going to be

refining the pattern as I'm getting

deeper and deeper into my cuts. I'm going

to start first with the design that

depicts the dragon breathing fire onto the anvil

and once that side of the blade is done,

I'm going to flip the blade over

and start the design that depicts

two dragons locked in combat.

According to the King of Avalon lore,

the blade of Excalibur was hardened using

dragon's fire. And that part of the story

is emulated on the rear engraving that

depicts a dragon reigning fire down on the blacksmith's anvil.

I'm going to be turning the basic form for the pommel on this sword.

We're going to do this all in one piece.

We got some free machining steel here.

I'm going to take it down to an inch and three-quarter.

There's also a gemstone

mounted on the top.

I've got a fairly large piece of rutilated quartz.

We're going to cut in here.

We've got to cut to the size of the stone,

we're not going to recut the stone.

So we've got a full inch here and

then after all this engraving is done,

I'll cut a small series of cuts on the bottom

of these prongs. They'll be bent in and

will grab around the stone.

As a boy to save his own life from

sacrifice by his King, Merlin foretold

his kingdoms fate by interpreting the

meaning of an epic battle between two dragons.

This battle is represented by

the two entangled dragons on the front engraving.

[Music]

We got the artwork that Ilya is working from.

This is the basic layout for the sword guard.

Just taking some silver coins that we've purchased.

This is what he's going to engrave from.

So the dragon is going to be

engraved here in the center.

We're going to create this entire thing

from free machining steel. It's going to

allow us to do this detent work around the outside.

Just with a chisel we'll work it out.

We're going to cut into it for an inside diameter

that's gonna hold this silver coin.

Then I'll be able to go in with

a boring bar and increase the size of that

until my coin fits.

For the center medallion that goes in the

middle of the guard, I've flattened out the

piece of coin silver but only on the edges,

never touching the center.

You can still see part of the logo right here.

The center dragon, after it's finished,

will go right here and will be captured

with the bezel that Kerry's working on right now.

Now I'm going to proceed drawing out my

dragon design by scribing it.

The technique I'm going to use is going to be

a combination of Engraving and Uchi-Dachi.

The reason for that is: I need to produce

the maximum depth out of this coin.

And the depth has to work very well together

with the depth I achieve on the blade engraving.

I'm going to use a tool known as a liner.

What it does it just pushes

the material back creating a crease.

After the liner, a simple flat bottom chisel.

As you notice I'm working from the outside in.

what I'm doing is creating a wave and

gathering some material as well as pitch

at the bottom of the coin up to the center

creating more height.

You're gonna notice that Ilya's going to

anneal the central medallion several

times during this process for two

different reasons. One, softer metal is easier

to move around and two, we don't want it to crack

after it gets work harden when Ilya is hammering on it.

To anneal silver, you just heat it up

and quench it in water.

The opposite of what you want to do with steel.

Ilya uses a heat gun to heat up the pitch

and removes the medallion.

For the guard on this sword, Ilya is going to

start with 1018 steel. It's one-inch square

He's going to get its length then he's

going to go to the iron cast

to create the form.

[Music]

[Music]

OK, so I engraved exactly one-quarter of

the crossguard for the sword. I have to

do it once again right here, symmetrically.

And then twice more on the

obverse side. So I have to do it three more times.

Then you can see already how the silver

is a different color than the steel.

Silver is naturally warm in its

reflection and then steal is naturally cold.

[Music]

I've used blue tape to protect the engraving,

while I got this on the mill.

I've marked out how the tank is gonna sit,

measured the thickness of the blade,

measures the size of my cutter and I'll begin