Forging a Raindrop Pattern Billet from Three Steels

Oct 31, 2026 Last reply: 1 day ago 3 Replies
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The detail that caught me off guard is where the raindrops actually come from: plain shallow dimples drilled across the face of the bar. After reheating and forging the steel flat, those dimples compress into concentric rings, and the acid etch later pulls them out as repeating bullseyes. I had always assumed a pattern like this needed far more exotic steps.



The build itself follows a disciplined path. Alternating plates of 1075, 1095 and 15N20 were cut with an angle grinder and a horizontal bandsaw, then their surfaces were cleaned up on a belt grinder. The stack was clamped in a vise and welded along the seams, with a rod attached as a handle. Once heated in a coal forge and coated in white flux powder, the pack went under an electric power hammer for forge-welding and drawing out. Cutting, restacking and reforging the bar multiplied the layer density before the dimpling work began.



The finishing sequence stands out too: the billet was ground flat, soaked in acid in a plastic container for ten minutes with the etch timed on a smartphone, then lightly hand-sanded, which is what finally revealed the raindrop pattern. A shared picture of the cross section shows the drilled layers sitting inside the bar, ready to become those circles.



One thing left open is the destination. The maker says the billet should end up as a knife or two, but that decision has not been made yet.



Project by Ilmarinen Forgeworks. Watch it on their YouTube channel:

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Timing the acid bath on a smartphone for a fixed ten minutes seems like a smart, repeatable way to keep the contrast consistent between batches. I also think drilling shallow dimples rather than cutting the pattern in some other way is a fair trade: more time at the drill press, but tight control over where every ring lands on the finished face.

Does anyone know how deep those dimples were drilled before the bar went back under the hammer? The cross section picture makes the exposed layers look quite shallow, and I am curious whether the depth has to be judged by eye on a layered bar or whether there is a more measured approach.

A variation worth trying on a future billet would be spacing the dimples unevenly across the face instead of in a regular grid. Since each drilled spot becomes a ring after flattening and etching, staggering the layout should give the pattern a more natural, flowing look, the way water ripples overlap rather than sit in neat rows.

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