Sorry for the confusion, no this in not a keris, but a test I did to see how a specific keris pamor is created. The spots along the edge are a transient phenomenon, related to air bubbles sticking to the blade in the quench, and should be ignored, if possible. Only the center of the blade is patterned.
I don’t know about you guys, but when I see a pamor one of the things I start to do is try to figure out the sequence of forging operations that lead to the various patterns, and that discussion of Walang Sinudhuk (
http://www.vikingsword.com/vb/showthread.php?t=4577 ) a couple weeks ago got me wondering about it and a couple closely related pamor - at least, closely related in terms of how Tammens drew them – were created. The discussion brought up various drawings that were more or less clear from a “finding out the process” perspective, but two very different methods are clearly implicated, one in the first couple drawings and the photo I found (which look very different, but which all imply a particular metal manipulation), and a second in the rest. Ganggeng kanyut looks as if it was made by a different process as well, so if that is what this pattern is saying, I’m way outside the ballpark, in my estimation of how the pamor metal gets manipulated to create walang sinudhuk. I’m also curious about how walang sinudhuk and dadung muntir are related, since they should both be pamor over a core steel, correct? How are they different, in your opinion, and/or which references give accurate depictions of them?
But I think I muddied the waters by using fewer layers, and doing more cross-wise forging than you’d typically get in a keris, so the pattern is stretched in a way that makes it look less like the target pattern I was going for.