Jorge Toquero Román

Jorge Toquero Román

1974

iain

Spanish

Artisan

777

current,43.25921735207668,-5.993868917107711;

Spain

Toquero Román, Jorge

https://www.hyottokoartesania.com/

TEXT

Jorque Toquero Román was born in Tudela de Duero, a village in the province of Valladolid, in 1974. He currently lives in Santalla de Oscos. Craftsmanship is his way of life. Before dedicating himself to craftsmanship, he worked for eleven years in the construction sector. Although his father owned a construction company and life led him in that direction, he never felt truly fulfilled. When he was born, his village had around 5,000 inhabitants; today, it has grown to over 11,000. He was always drawn to rural life and wanted to remain in that environment. One of the reasons behind his decision to change paths was precisely that: to stay connected to rural living. He found out that there were knife-making courses in Taramundi, offered through a training workshop. He was already familiar with the Taramundi knives and found the subject appealing, so he decided to give it a try, hoping he could make a living from crafting knives. And he succeeded. For him, it was an opportunity he didn’t let slip by. He lived in Taramundi for five years. Later, he broadened his experience through several trips to Japan, where he worked in knife-making workshops in Tokyo. From that point on, he decided to set up his own business as a knife-making artisan, creating handmade products that blend the traditional craftsmanship of the Oscos-Eo region with Japanese knife-making techniques.

UNIOVI_PR_06

2005

facebook,https://www.facebook.com/hyottokoartesania;instagram,https://www.instagram.com/navajashyottoko/;

metalwork

Jorge received his initial training in knife-making in Taramundi, at a workshop school. There, he learned everything necessary to begin the process of crafting knives and folding blades. Years later, he traveled to Tokyo and attended a knife fair in Ginza. He was struck by the level of finish in Japanese knife-making—it was so refined that he even questioned whether the pieces were truly handmade or industrially produced. To him, it seemed incredibly complex. He established relationships with several Japanese knife artisans and began learning to work as they did. Keiko’s father, his wife’s father, owned a metal supply warehouse in Tokyo and encouraged him to improve his craft. He gave him a significant push to focus more on finishing techniques, which are highly valued in Japan. Finishes, heat treatments, and other details are essential, as Japanese knife-making strives for excellence and the highest standards in both materials and cutting quality. Part of his training has been self-taught, which he sees as intrinsic to the artisan’s path. The more you work, the more you learn, and daily practice leads to improvement. This is one of the pillars of Japanese artisan philosophy: to improve a little every day. Not through big leaps, but through the ambition to surpass oneself, to be slightly better each day. He also undertook specific training programs. His first trip to Japan was aimed at learning traditional Japanese techniques for working with iron and steel. There, he trained in several knife-making workshops to learn different methods and approaches.

He has not had any apprentices, nor has he conducted training courses for others.

Santiago Rodríguez Pérez Lucía Pérez Fernández

incomer

Jorge believes that thoroughly understanding the craft and mastering its various techniques is essential. A craftsman must have basic knowledge of metallurgy, be able to interpret tempering diagrams, and know how to properly work with steel. That is fundamental. Finishing and polishing can be learned over time, but working steel correctly is indispensable. A deep understanding of forging techniques is also necessary, as the quality of the pieces depends on it. If things aren’t done properly, the raw material can be ruined. It’s not just about heating a piece of iron any which way and stretching it—specific knowledge and the right tools are required. He also considers hand tools to be important and has made an effort to preserve that aspect of the trade.

Jorge moved to this area around the year 2000, driven by his interest in establishing himself as a craftsman

He primarily works with stainless steels and carbon steels, although in some less frequent pieces, he uses antique iron. In certain works, he combines carbon steel with antique iron. He often uses Japanese steel in his creations. He frequently employs the Sanmai technique. In Japanese, san means “three” and mai means “layers.” He crafts the blades using this ancient method, which combines multiple layers of steel and iron. Another technique he occasionally uses is Gonmai (five layers). When working with stainless steels, he turns to a modern technique called Suminagashi. This method creates a pattern resembling wood grain or floating brushstrokes, similar in appearance to Damascus steel, though it is not traditional Damascus but rather a decorative laminate. The materials he uses are not difficult to obtain; all are available within Europe. Nowadays, thanks to the Internet, it is possible to access suppliers offering a wide range of steels and qualities.

full-time paid job

Some of the materials he uses come from Japan, such as shirogami, aogami, and other steels. The basic stainless steel he works with, ACX 380, comes from Albacete (Spain). The softer steels, used for items that do not require high cutting performance, are sourced from Lugo (Galicia). More specialized steels, though not Japanese, are supplied by a French distributor. He also works with German suppliers, but his main sources are Japanese, French, and Spanish—particularly from Albacete. The most special and highest-quality steels come from Japan or France. He has no difficulty obtaining materials, as there are many distributors accessible online. In the past, he worked with a supplier from the Basque Country, which has since closed. As for the handle woods, he mainly uses locally sourced briarwood and boxwood. The boxwood currently comes from Navarra, though he used to source it from Huesca. For his more elegant series, he uses woods commonly found in musical instruments, such as ebony, grenadilla, ironwood, or violetwood. The reason is the same as for luthiers: these denser woods are less affected by humidity. In instruments, this prevents detuning; in knife-making, it prevents misalignment of the parts. The denser the wood, the less it reacts to moisture, helping maintain pressure and ensuring a better fit between the blade and the handle. A folding knife that relies on the pressure of the wood to hold the blade in place may require frequent adjustments if made with softer woods, as they are more sensitive to humidity changes. Boxwood has a high density—around 960 kg/m³—which helps prevent such variations. Grenadilla is even denser, reaching 1,240 kg/m³. He always uses fine hardwoods in his knife-making.

Metal waste is generated during the process. The leftover wood is used as fuel in a wood-burning stove for heating, and the sawdust is used for composting. As for the metal, since it cannot be easily recycled, it is properly disposed of.

In the work of forging and knife-making, there is no single process, but rather a combination of multiple techniques that result in diverse pieces and finishes. Jorge combines the knowledge he acquired during his training as a knifemaker in Taramundi with the techniques he learned during his successive trips to Japan. One of the forging techniques he uses most frequently is the combination of steel with old iron, a hallmark of Japanese knife-making. When iron is melted, it absorbs carbon from the charcoal and becomes carburized. To eliminate bubbles from the casting, it is heated, hammered, and compacted. Then, the piece is stretched, folded, and joined at temperatures close to 1200 °C. This process is repeated between 10 and 15 times, generating the visible longitudinal lines on the blades—these are the accumulated folds. This is the process of original Damascus steel. The characteristic pattern of Damascus steels comes from the steel ingots that were imported to Syria from India. These folds give the steel great flexibility, allowing it to bend and return to its shape without breaking. The folding process imparts valuable mechanical properties to the metal. Katanas, for example, are made using this technique, combining iron cores with steel and applying multiple folds. This method was common in the manufacture of bladed weapons, as it allowed them to absorb the impact vibrations without fracturing. Polishing was a technique Jorge perfected during his third trip to Japan. By then, he had already mastered finishing techniques with Tanaka, his master, with whom he met other experts in polishing techniques and trained with them. Taramundi provided him with the foundations of the knifemaking craft, and from there, his evolution as an artisan began. Another fundamental technique is grinding. Starting from steel sheets, a blank is cut in the desired shape and ground with an emery wheel to define the edge. The grind can be concave or convex. Jorge believes that knife-making allows him to develop his creativity, working with different materials such as wood and metal. He has always been interested in doing artisanal, manual work—work made by hand. The technique used depends on the type of piece to be made. For example, for a blade made by stock removal, the blank is cut, ground with an emery wheel, and then normalized in an electric furnace, depending on the type of steel. Depending on the alloying elements and the percentage of carbon, different heat treatments and specific temperatures are applied. After normalization, hardening is carried out. For knives made by stock removal, he uses 0.5 mm stainless steel foil to wrap the piece like an envelope, creating an oxygen-free atmosphere. He preheats the furnace to the appropriate temperature for the steel, as well as the oil in which the piece will be quenched. Then he performs the hardening and subsequently three tempering cycles, each at a specific temperature depending on the material. Once tempered, he sharpens the blade and, in some cases, performs a mirror polish. For polishing, he starts with 400-grit sandpaper to remove marks from the abrasive belt and progressively increases the grit: 600, 800, 1000, 1200, 1500, 2000, and 2500. Finally, he polishes with compound and cloth, achieving a mirror finish. As for the handles, he uses materials such as micarta, G10, and fine woods. These pieces are usually accompanied by leather sheaths. To make the handles, he draws the template on the wood sheet based on the blade, cuts it out, and shapes it with a sander. In other pieces, he uses a tang, and from the wood block, he shapes the handle.

There are many tools involved, ranging from traditional ones used in artisanal iron forging (such as anvils, hammers, and forges) to much more modern equipment. Jorge understands that, in order to guarantee a minimum level of quality, he needs at least a tempering furnace and the ability to control temperature during the forging process. On his first trip to Japan, he discovered the importance of temperature control when working with different types of steel. Each steel has its own specific characteristics, so it is essential to work within its appropriate temperature range. If those limits are exceeded during forging, the metal deteriorates and becomes irrecoverable. He also considers manual tools to be important and has made an effort to preserve that traditional aspect of the craft. Certainly, nowadays they are not strictly necessary, but proper forging improves the final product—provided one knows how to forge. On one of his trips to Japan, he worked with the same tools that were traditionally used in Asturias: hammer, anvil, forge, etc. Over time, however, he sought out experts, conducted research, and improved his training. He concluded that if you don’t know how to do things properly, you end up damaging the raw material. If traditional forging is used, it must be used correctly. It’s not enough to simply heat iron any way you like and stretch it. A whole body of technical knowledge is required, along with specific tools. An electric furnace is essential. This type of furnace is indispensable for processes such as normalization. With certain steels, it is necessary to maintain the piece at 600 °C for a specific period of time, which can only be achieved with an electric furnace capable of reaching and sustaining that temperature. In a traditional forge, this is simply not possible.

He keeps using traditional forging tools because he considers it important not to lose that connection with the past. Certainly, with the means available in earlier times, there were artisans capable of creating true marvels. Nowadays, if you have the right knowledge and know how to handle the tools, you can produce very high-quality pieces. To get started in the craft, there are a number of basic tools: first, a forge with a pyrometer (type K probe), an electric furnace, a belt sander, polishers, a milling machine (not essential, but useful), and a lathe for shaping handles. He owns a copy lathe, although he usually finishes the knives by hand. One especially important tool is the electric furnace, which is essential for giving the steel good cutting quality. You can make beautiful tools, but without that furnace, the steel won’t acquire the necessary properties for proper performance.

Electric furnaces have a power range between 2000 and 2400 W, which means energy consumption is high. For now, they do not work with renewable energy sources, except for the wood-burning stove used to heat the workshop. Jorge would love to have access to renewable energy, but currently lacks the resources to afford an installation of that kind. It is something desirable for the future.

Metal scraps are generated during the process. The leftover wood is used in the wood-burning stove for heating, the sawdust is composted, and the metal (since it cannot be recycled) is removed and discarded.

Jorge runs his knife-making workshop in what used to be the chicken coop of their home, which they have converted and expanded into a metalworking studio. They’ve had the workshop since 2012 and officially opened it in 2013. It was originally a small shed, which they significantly enlarged and fitted with large windows that let in natural light for working. The workshop has a back area where all the tools and the forge are located, with separate spaces for the polishing machine and other equipment. At the front, there is a small shop where they display and sell their work to the public. Jorge shares the workshop with iron artisan Keiko Shimizu, who is also his wife.

The workshop mainly produces knife-related items, including both folding knives and various types of fixed-blade knives. Jorge started with fixed-blade knives and later began developing folding knives with greater technical complexity. Profitability is always a challenge: some periods see better sales than others. He takes on the challenge of making different types of products, but even though some pieces require a great deal of work, they don’t always sell, so he must adjust production to market demand. His artisanal production is focused on quality, that is his top priority: to produce high-quality work. However, in order to sustain the business, he also needs to make affordable items. His goal, though, is to produce high-end, quality pieces, and he enjoys crafting them. High-quality folding knives tend to sell well. In fact, if he were to learn another craft, he would be interested in working with jewellery-making techniques, which he could also apply to his knife production.

The main purpose of all his production is for sale. Most of it is sold directly to the public, while another portion is through custom orders.

There are several sales channels. On one hand, his own website, where he sells part of the artisanal production he makes. He also has a physical shop within his workshop, where he sells directly to the public. Some pieces are sold through distributors. They no longer attend craft fairs or traditional markets, as he no longer considers them worthwhile. He also receives custom orders from clients looking for exclusive handmade knife products.

He is fully dedicated to his craft and does not offer other types of services.

If a client were to request a review or repair of a piece, he would be able to do it without any problem.

Jorge has a diverse customer base. On one hand, tourists visiting the area who purchase his products either directly from his home or through small local distributors. On the other hand, knife collectors. These are the two main customer profiles. Some clients buy a folding knife for everyday use, without any particular expectations, while others are looking for exclusive artisanal pieces. He offers knives ranging from €18 to over €600.

There are no labels, quality seals, or protected geographical indications for the artisanal knife-making work carried out in western Asturias. Efforts are being made in this direction, but as of today, there is no certification in place. So far, no such seal has been obtained.

He does not carry out specific activities for tourists, beyond producing items for sale that are purchased by visitors.

“Pero el turismo tiene un límite. Mientras la economía funcione, habrá turismo, pero es un sector muy dependiente de otras circunstancias. El turismo también se vendió, pero da para lo que da, y no da para mucho. Los habitantes del medio rural tienen que sostenerse y hacer frente a estos cambios, y no fiarlo todo al turismo como sector económico.” “El turismo de los Oscos es todo nacional, y mientras la economía vaya bien, hay turismo, pero es variable, durante las crisis no hay flujos turísticos. Es algo variable.”

He does collaborate with other artisans. For example, in partnership with a fellow craftsman from Fonsagrada, a neighbour, he designed a circular ring locking system for folding knives. He has worked with him on other creations as well. He also collaborates with public institutions, such as the Santalla d’Oscos Town Hall, where he resides.

There is a generational crisis among artisans, who are increasingly aging. In Jorge’s region, artisanal activity continues, but more workshops are closing and there is no generational renewal. This crisis should have been addressed years ago.He mentions some initiatives in rural areas of other regions that aim to find people willing to take over businesses from those retiring, such as bakeries. If these businesses close, villages lose vitality. When services are available, population can be retained. One of the major challenges in rural areas is retaining population. It is essential, but very difficult. Tourism helps to some extent, but it is not enough. Retaining population would allow for the maintenance of a range of basic services. In Taramundi, for example, a few years ago there was a tourism boom, which led to the creation of many businesses. However, there is now a crisis. Years ago, towns like Taramundi and Santalla were economic drivers linked to tourism. When Fritz (Ferreiros de Mazonovo) and other artisans arrived, the region began to thrive, but now Jorge believes it has stagnated again. There was interest in attracting newcomers, but the people who were young yesterday are now older, and a new generational shift is needed, yet there is no guarantee of renewal. Another serious issue is housing. People come looking for homes, but there are none available, and prices are high. It is difficult to find jobs in rural areas that allow people to afford housing, as salaries are low. Access to mortgage credit is limited. Housing is scarce, and prices have risen significantly in recent years, making it hard for people to settle. Some people want to move to the area, but there is no housing, and the little that exists is overpriced. This prevents new residents from settling and creates a future crisis. Those who do come often have high purchasing power, are elderly, or use the houses as second homes. This external demand also drives up prices and limits access to housing. Housing is perhaps the greatest challenge facing rural areas today. Houses become second homes, and villages end up depopulated because no one can afford to live there permanently, nor do they bring children to the area. Access to housing is complex, and so is access to employment in rural areas, where job opportunities are limited. Jorge believes that as long as tourism exists, they will be able to survive. The challenge is to maintain tourism. Another major challenge is preserving basic services such as education and healthcare. Demographics are also in crisis. For Jorge, housing is the main challenge in the rural area, perhaps even more than employment. Secondly, he believes that newcomers must create their own jobs. Tourism generates some employment, but very little. Livestock farming is difficult to enter without access to land, and there are already farmers in the area. It requires a lot of land. Some people come and try, but it’s also complicated because the population is small, there are few clients, and businesses struggle to survive on the limited income from residents. Other businesses lack generational continuity. Another challenge he identifies is the need to maintain tourism and preserve basic services such as pharmacies, schools, and health centres. In Santalla, basic services are barely maintained. Then there is the issue of remote work. In the post-pandemic years, remote work was considered a possible solution to depopulation. When Jorge researches and innovates in the creation of new pieces, he explores new paths through manual and traditional craftsmanship. He believes knife-making is deeply connected to the culture of a people. He feels that if he can make a living from his craft and is happy doing so, then it is perfectly valid. In the traditional knife-making of the region, there are many other perspectives that are also valuable.

“Éramos jóvenes, pero empezamos a ser viejos, y necesitamos que venga otra generación” […] “No hay garantía de continuidad”[…] “Hay gente que quiere venir pero no hay viviendas, y las pocas que hay, están a esos precios (desorbitados)”. La gente joven, con capacidad de generar vida otra vez en el pueblo, no puede acceder.” "La capacidad de acceso a un puesto de trabajo que te permita adquirir las viviendas, también es difícil. O traes el dinero para hacer la inversión, o imposible.”

La Nueva España. (2024, September 7). Santalla revisa el pasado navalleiro. La Nueva España. https://www.lne.es/occidente/2024/09/07/santalla-revisa-pasado-navalleiro-107854901.html Jardón, M. (2024, June 9). «Continuamos la tradición cuchillera de la localidad, que tiene más de 200 años». Pegados a la Tierra. https://pegadosalatierra.elcomercio.es/hyottoko-artesania-santa-eulalia-de-oscos-asturias/ Muñiz, I. G. (2023, June 16). Hyottoko, forja y navajas a fuego lento. Fusion Asturias. https://fusionasturias.com/otras-secciones/arte-y-museos/hyottoko-forja-y-navajas-a-fuego-lento.htm RTPA – Radiotelevisión del Principado de Asturias. (2022, November 22). TPA a la carta: Dr. Lobo, del martes 22 de noviembre de 2022. RTPA. https://www.rtpa.es/video:Dr.-Lobo.--T.3-Cap.-9-Santa-Eulalia-de-Oscos_551669166581.html España Artesana. (n.d.). Hyottoko. España Artesana. https://espanaartesana.com/hyottoko be-glu.com. (2024, August 13). Hyottoko Artesanía. https://be-glu.com/en/hyottoko-artesania/

https://www.hyottokoartesania.com/comprar/