The Upside-down Hanging Woman

「竹久夢二 美人画展 ―わたし美人?―」竹久夢二美術館で、美人画の変遷を辿る作品・資料約200点 - 写真2
Osei, the luckless heroine

Warning: This is a special Halloween post, but it may not be suitable for children.

In keeping with the Halloween season, I want to share this story about an unfortunate woman on the way back home.

The Japanese people have loved scary stories of all kinds for as far back as we know. Judging by the increasing popularity of horror movies in the USA, this is not a unique tendency.

True to form, this story includes themes common to many Japanese horror stories, such as lonely places and good food, helpless women and ropes, and a sad ending, indeed everything a scary Japanese folk tale needs.

As you read it, imagine you are a little boy or girl in a dark and drafty room in an old farmhouse tight against a bamboo forest. Big smoke-blackened wooden beams twist through the space overhead. It’s dark outside and chilly; the wind is softly blowing outside making the bamboo and paper-covered shoji doors rattle, and the few remaining dry leaves rustle. Mother has just finished cleaning up after the simple evening meal. You’re still a little hungry, but it was enough. A small fire is burning in the square sand-filled irori in the center of the room where Mother and Grandmother cooked dinner. The family is relaxing around the fire, and you are leaning against your mother or father as Grandmother tells this old story. I won’t insist you enjoy it, but I hope you can grasp the atmosphere of rural Japan in past centuries.

An irori with a fire heating an iron cauldron for the evening meal. Woven rush mats are placed around the sand-filled depression in the floor for the family to sit together as they eat the evening meal. Maybe after dinner Granny will tell us some stories…

Long ago and far away there was a woman named Osei. She was 25 years old.

She had traveled from her home to visit her parents in a different village for several days. It was a half-day journey for a woman, normally one her husband or younger brother would have accompanied her on, but they were both too busy to travel with her this time.

Anyway, let’s walk along with Osei on her lonely path through a dim bamboo thicket at twilight.

Suddenly a man appeared by the side of the path, as if he had been waiting for her. Osei screamed in surprise.

The path through the bamboo forest
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The bad guy

The man was huge and looked just like you would imagine a bandit would be with a long, unkempt beard and wearing a dirty sleeveless kimono. He grabbed Osei’s slender arm violently and dragged her in among the thick bamboo stalks. Osei screamed like a banshee on fire but the thick silent forest swallowed the sound without an echo. Only a fox and the mice he was hunting nearby heard Osei’s calls for help.

Osei struggled frantically to free herself from his iron grip, but without stopping the man just looked back at her admonishingly and said “Calm down, I’m not going to eat you! I just want you to be my wife.”

The large, dirty man held tightly to one of Osei’s arms, while Osei’s feet and free hand scrambled in the fallen leaves on the forest floor trying to get back to the path. Hearing his words, she managed to gasp out “Wait, wait! I can’t be your wife, I already have a husband and two small children waiting for me at home! Please let me go!”

Without releasing her the man stopped and with a puzzled expression said “Think about it. There is only endless drudgery waiting for you at your husband’s leaky hovel. And the best you will have to eat is rough barley rice and pickled greens, right?” “But if you come with me your life will be easy. You can relax indoors all day and eat delicious foods. That’s a lot better than your life now, I wager.” He made other strange arguments about nice clothes and servants, but Osei didn’t hear a single word, she just continued to scream and struggle.

Giving up on trying to convince Osei with words, the man tied her up, threw her over his shoulder, and strode purposefully away into the bamboo forest. After a while, the forest opened up to a clearing with a single house. The house was large and well made, like a Governor’s mansion.

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The mansion in the woods

The man carried her into the house and lowered her onto the floor. Looking steadily into her eyes he firmly said “You are now the woman of this house. Your life here will be easy, so long as you don’t go outside. You will have delicious things to eat and a new silk kimono to wear everyday. Then you will understand that what I have said is true. Even if you think I am lying, stay here for just one month anyway, and after that you will be free to go. So stop all this hysterical wailing.”

Osei continued to cry, but after a while dinner appeared. It was everything the scruffy bandit said it would be.

Just a light snack

Osei grew up on a farm and was a poor farmer’s wife so she had never even seen such luxurious food before. But thoughts of her husband and children made it impossible to eat a morsel, so she just sat in a corner of the room and cried in despair.

But humans are calculating creatures unable to live on affection alone. After three days she became so hungry she finally relented and ate a mouthful of food.

There were foods from both the sea and the mountains, wonderful dishes she had never seen before much less tasted. She didn’t forget her husband or children for even a second, but rationalized that the separation would only be for a month. As the days passed she began to eat regularly a little at a time.

Four meals a day, nice clothes, servants to cook and clean, and no work. What more could a woman possibly want? Answer: She’s a woman so will find something to complain about.
Osei enjoying a picture book between meals

Osei spent each day alone in her room simply eating and reading picture books the man brought to her, so she was not especially bored.

Most importantly, the man did not pressure her for physical relations, so the tension between them gradually relaxed.

Eventually, however, Osei had read every picture book several times and was left with nothing to do. She was bored.

One day as the smelly bandit was taking his usual afternoon nap she snuck out of the house as quiet as a mouse wearing fuzzy pink slippers. She slipped from the veranda into a large garden with a big white kura warehouse off to the side. She heard voices from inside the warehouse, and what sounded like rain dripping from a leaky roof. Osei was curious and peeked into the warehouse’s open doors. What she saw inside shocked her so badly she had to kneel to keep from falling over. 

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Japanese “Kura” (蔵) or “Dozo” (土蔵) are a type of warehouse building with a wooden structure and thick walls and ceiling of adobe plaster. The mass of the adobe moderates interior temperature changes helping to preserve foodstuffs and goods. More importantly, a well-built Kura will withstand a serious fire protecting the people and valuables inside, a tremendous benefit in light of the terrible fires that have historically and frequently ravaged Japan’s cities. Owning a Kura was not only a sign of wealth but was important to creating and protecting wealth.
Image result for 土蔵
Dozo, being made of adobe, essentially clayey mud and straw, are vulnerable to damage from water and impacts. Two methods of protection traditionally employed were a fired-clay tile roof, interim eaves also with roof tiles, and a tall wainscot of fired-clay tiles, or even stone tiles as in this photo.
Notice how thick the adobe walls are, and how all flammable building materials are protected behind adobe and plaster. The thick shutters too are filled and wrapped with adobe and a white plaster coat and have stepped edges that interlock to seal out smoke, fire, insects, rodents and thieves. I suspect the metal flashing on top of the shutters is a modern addition.
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The entry doors are also adobe and plaster over a wooden frame, often with metal panels to add further stiffness and security. The outer fireproof doors are left open during the day while the lighter and more easily-operated inner wooden doors are kept closed to keep out insects, rodents, and pilfering hands. At night, or during a fire, the heavy insulated doors are closed and locked. A well-made Kura will not only protect a family’s or business’s wealth, but is the perfect emergency refuge during fire or flood.

What Osei saw in the kura was dozens of bound women hanging upside down from the ceiling beams by ropes around their ankles as naked as the day they were born. Every single one of them was plump and sweating a yellowish liquid from their hair follicles and face which fell into a clay pot placed on the floor below each woman making a “drip, drip, drip” sound.

Osei was deeply ashamed at her indolence while these women had been suffering so close by. She began to cry at the sight. One of the women noticed Osei and whispered “Run! Hurry run away! If you don’t escape you too will end up hanging here with us while he steals your body’s oil!” With that all the hanging women looked at Osei pitifully and said as one “Run and bring us help!”

Osei was so shocked at first she couldn’t respond to the women’s pleas, but after a few minutes she did manage to stand and run away like a scared rabbit as fast as she could. As she fled through the forest and thickets daylight failed and she became even more fearful, but she continued running until at last she saw a light in the distance. It was an old farmhouse. She ran to the door and banged on it loudly until an old snaggle-toothed white-haired woman slid open the door.

A traditional country farmhouse with a straw-thatched roof and smoke hole above the kitchen located towards the building’s right side. Notice that the right third of the building, including what would serve as the kitchen, is not raised. This area has an earthen floor and serves as workshop, storage shed, or even animal shed, depending on the farm’s needs. No glass windows, of course, just paper shoji doors and sliding wooden shutter doors at the perimeter.

“What’s the matter; why are you so panicked?” the old woman asked Osei. Reassured by the old woman’s concern Osei quickly explained what had happened. 

“Well, come inside dear. I had no idea such a scary ruffian was skulking around these mountains,” said the old woman. “Oh no, I hear someone coming!” she suddenly barked, and pulled Osei inside sliding the door closed with a loud “clack!” Osei peeked through a crack at the doorframe and indeed saw a large figure running through the dark bamboo forest towards the house. “That’s him! That’s the man! He’s coming!” she gibbered in a low panicked voice.

The old woman guided Osei to a ladder going up to the house’s attic. “Quickly now, climb this ladder and hide above. There is a pile of hemp bags in the corner. Climb inside one of them and stay very very quiet until I get rid of that animal. I will hide the ladder so he won’t find you.”

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The roof structure of the farmhouse.
The corner of the farmhouse attic where Osei hid.

Osei climbed the ladder, found the pile of bags, and curled up inside one as small and quietly as a potato bug. She could hear someone banging on the door below, and the old woman saying “I’m coming, I’m coming! Wait a second!” As the door slid open she heard the large man’s voice saying “A woman just came here, didn’t she!”

The old woman responded “No one but you has come here today.” The man’s voice said “Don’t lie, I saw her!” 

“How could you see anything in this darkness?” said the old woman.

“You have an oil lamp burning inside. I saw her shadow at this very door when you opened it just now!”

“You must have seen my shadow twice,“ the old woman argued.

The man was angry now and spit out “I’m no fool! No way I would mistake an old hag like you for a young woman even in the dark.” “You’re trying to steal the woman I was preparing!”

The old woman lowered her voice, but Osei could still hear her response “Haven’t you got enough women already? Couldn’t you share just one with your old mother?”

The man continued to argue with the old woman, but eventually he calmed down and spit out “ Just this once, then, mother.” “Where have you hidden her?”

“In the attic,” responded the snaggle-toothed old woman pointing upwards with a finger and grinning. “Inside one of the bags. And while your at it, would you be a good boy and hang a new rope for me?”

“You know, you’re a lot of trouble for such an ugly old hag!” responded the man’s voice.

Hearing this Osei tried to escape from the bag, but before she could get away the bag was lifted into the air. The bag was suddenly and powerfully torn open and she was pulled out, only to be tied with a thick, rough rope around her ankles and suspended through a hole cut in the ceiling above the hallway below. Clearly, the rope and hole had been prepared well in advance and used before.

Osei looked around and saw the ruffian and his mother looking back at her. Of course, they appeared to be upside down. Looking at the floor below, Osei noticed a large clay pot placed directly below her with what appeared to be some yellow oil in the bottom.

Before long, a slow drip, drip, drip, … of oily sweat fell from Osei into the pot.

A sad ending to an all too common story of suffering.

The End

(A folktale from the island of  Kikaijima, located between Kyushu and Okinawa)

月下竹林骸骨行之図
Happy Halloween from your friends at C&S Tools!

YMHOS

If you have questions or would like to learn mor

If you have questions or would like to learn more about our tools, please click the “Pricelist” link here or at the top of the page and use the “Contact Us” form located immediately below.

Please share your insights and comments with everyone in the form located further below labeled “Leave a Reply.” We aren’t evil Google, fascist facebook, or thuggish Twitter and so won’t sell, share, or profitably “misplace” your information. If I lie may I be hung by the toes for a week.

The Varieties of Japanese Chisels Part 14 – The Kote Nomi (鏝鑿Trowel Chisel)

You cannot mandate productivity, you must provide the tools to let people become their best.

Steve Jobs

This post will diverge a little from the pattern of previous articles in this series in several ways. First, because although your humble servant loves this tool, it has become difficult to procuring them anymore, so this is more of a show and tell. And second, because I have a couple of stories to tell about the blacksmith that made it, and the store that sold it to me.

The Kotenomi

The kote nomi is written 鏝鑿 in Chinese characters meaning ” trowel chisel.” It is not an elegant name, but is accurately descriptive. It is essentially the same as the Western ” cranked-neck chisel. ” It is used to pare grooves, dadoes, sliding dovetails, rabbits and mortises, anywhere the handle of a regular paring chisel would get in the way.

The sides have a steeper bevel than regular chisels, much like a shinogi usunomi, to help it get into tight places and cut right up against the sides of sliding dovetail groves, dadoes, etc..

These are not easy chisels to sharpen because of both the offset, and the tendency for the neck to get in the way.

This is one of those chisels that you may not need often, but when you do need it, you need it badly.

Kiyotada Kotenomi 21mm (Left Face View)
Kiyotada Kotenomi 21mm (Face View)
Kiyotada Kotenomi 21mm (Ura View)
Kiyotada Kotenomi 21mm (Right Shoulder View)
Kiyotada Kotenomi 21mm (Face View CU)

The shape of the two Kiyotada kotenomi shown in the 10 photographs on this page is graceful, elegant and minimalist. The filework is very nice. The black oxide skin is consistent, indicative of a perfect heat treat. The blade, made of Shirogami No.1 steel (aka “White Steel 1”) is, unsurpassed by anything I have experienced. It is one of those rare tools that clears the mind as it cuts wood.

Background

The kotenomi in the pictures above have an interesting back story. It was forged by a famous and exceptionally skillful blacksmith named Kosaburo Shimamura (島村幸三郎)using the brand ”Kiyotada” (清忠). It is not the standard Japanese kotenomi in terms of design, appearance or performance, but is based on those forged by an even more famous blacksmith named Hiroshi Kato (加藤廣1874-1957) under the name of Chiyozuru Korehide (千代鶴貞秀), one of Japan’s greatest tool designers and blacksmiths. Much of his work is seen as great works of art in Japan.

As Mr. Ichiro Tsuchida told the story to me, he lent one or more of his collection of Chiyozuru Korehide kotenomi to Mr. Shimamura and asked him to forge some just like it to sell in his tool store Sangenjaya in Tokyo. After much trial and error, Mr Shimamura succeeded in approximating the Chiyozuru design in the chisels shown here.

As you can see from the pictures, the blade’s sides are sloped inwards from ura to face, a detail that provides clearance when cutting sliding dovetails, a joint this tool excels at making.

I use it, as well as my other Kiyotada kotenomi, for making dadoes, rabbets, and inletting swamped rifle barrels in reproduction flintlock barrels (sadly, I can’t pursue that activity here in Japan).

Kiyotada Kotenomi 9mm (Face View)
Kiyotada Kotenomi 9mm (Ura View)
Kiyotada Kotenomi 9mm (Right Side Neck View)
Kiyotada Kotenomi 9mm (Left Side View)

Kiyotada Kotenomi 9mm (Left Face View)

The following are pictures of the standard garden-variety kotenomi.

As you can see, the standard kotenomi are very clunky in appearance and crudely finished compared to Shimamura’s chisel, with a more abrupt, angular transition between neck and blade, whereas the handle in the Kiyotada design approaches the neck at more of an angle, a detail that stiffens the neck, reduces the bending moment on the neck/blade junction, and helps force flow into the blade more smoothly.

The standard model works just fine, but a comparison of their the appearance and tactile qualities would be like a Lear jet and Cessna 172: both vehicles will get you there, but the speed, comfort and style will vary.

Standard kotenomi chisel (face view)
Standard kotenomi chisel (Right shoulder view). Please observe the rougher finish and the less-sculptural shape.

The Kiyotada Brandname

A bit if trivia some may find interesting. The Kiyotada brandname was registered by, and remains the property of, a tool store in Tokyo called ” Suiheiya” (水平屋).

Suiheiya means ”level store,” probably named for the bubble-level tool imported from the West and which is so critical to construction and other trades. This store is old and was once the largest tool retailer in Japan. Last time I visited it was still large and packed to the concrete rafters with planes and chisels.

I first visited Suiheiya when I was a student in Tokyo in the ‘80’s when the premises was a 2-story wooden structure probably built right after the end of WWII. The proprietor was an old sourpuss who had no patience with foreigners and treated me like a shoplifter-in-training with a turd perched on my head. For some reason I can’t put my finger on I didn’t visit the store frequently, but I did buy this and other tools from him.

But I digress. Shimamura San made chisels and knives for Suiheiya his entire career and marked those tools with Suiheiya’s own Kiyotada brand. I suppose it would have seemed silly, or at least confusing, to mark a chisel or knife with a brand that could only be read as ”bubble level.”

I’m unsure how it happened, but as his products became more famous Shimamura-san made chisels for other retailers using the same Kiyotada brand. I was told by the owner of Suiheiya that Shimamura-san used the Kiyotada brand for all his products with Suiheiya’s permission.

By the way, although Shimamura-san has gone to the big lumber yard in the sky, Suiheiya continues to sell planes and chisels with the Kiyotada brand, although they are not made by Shimamura-san, who is busy with more important matters nowadays.

Sadly, my blacksmiths won’t make kotenomi for me anymore. I tend to be picky about quality, and with Kiyotada’s kotenomi as the standard, you can see why customer satisfaction in my case is difficult to achieve.

YMHOS

If you have questions or would like to learn more about our tools, please click the see the “Pricelist” link here or at the top of the page and use the “Contact Us” form located immediately below.

Please share your insights and comments with everyone by using the form located further below labeled “Leave a Reply.” We aren’t evil Google, fascist facebook, or thuggish Twitter and so won’t sell, share, or profitably “misplace” your information. If I lie may the bird of paradise poop on my face.

© 2019 Stanley Covington All Rights Reserved

Sharpening Part 11 – Supernatural Bevel Angles

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Pixie, kobold, elf, and sprite, All are on their rounds tonight; In the wan moon’s silver ray, Thrives their helter-skelter play.

Joel Benton

Iron Pixies

Beloved Customer, have you ever placed a tool down, only to later discover it has vanished into thin air? Do your tools ever become inexplicably dull or corroded within what seems like just a few days after cleaning and sharpening them? If so, you may have an Iron Pixie infestation without realizing it. 

Respected fairyologists theorize that, unlike their timid brethren frolicking in forests, or their blingy cousins infesting Hollywood, New York, and Washington DC who delight in tricking the mass media, film industry and corrupt politicians into constantly making greedy, immoral, hypocritical fools of themselves, Iron Pixies (genus Fatum Ferrum), do not fear iron or iron alloys. Indeed, besides pilfering and concealing tools that contain iron, they love nothing more than to use their corrosive powers to return this metal to its natural state through the thermodynamic chemical process known as “rubeum, et conversus abibo” (turn red and go away).

These piratical pixies become especially joyful if the owner of the kidnapped tool is unable to find it after much frantic searching and he is eventually forced to buy a replacement. Only when they see the replacement tool will the pernicious pixies permit the owner to locate the pilfered tool, usually in a deplorably rusty, chipped and paint-covered condition. Nasty, vicious little creatures!

We’ll come back to the supernatural impacts of these maniacal monsters on woodworking tools, but first let’s examine some more mundane details about sharpening blades, and a few things that typically go wrong with them.

The Ideal Bevel Angle

There is such a thing as an “ideal bevel angle” for each blade in each cutting situation, one that cuts the wood quickly, cleanly, with minimum force expenditure and that keeps the blade effectively sharp for the maximum amount of cutting possible, but determining this angle is not an easy calculation since it is difficult and expensive to actually observe what is happening at the cutting edge from a shaving’s-eye-view.

For example, a steep  60° bevel angle on a chisel will support the cutting edge thoroughly and will be durable, but it will pound the wood more than cut it wasting time and energy and damaging the wood unnecessarily. On the other hand, a 15° angle will cut very nicely, thankee kindly, but the blade is certain to chip and dull quickly. A balance is necessary.

This balance will depend on many factors including hardness and abrasiveness of the wood you are cutting at any time (e.g. Sugar Pine versus Ipe), the quality and nature of your chisel blade, the type of cut you are making (low-pressure surface paring versus high-pressure deep mortises), and the care you take to protect the cutting edge. Yes, technique matters.

Determining the ideal bevel angle is ultimately a trial and error process the diligent craftsman will perform until it is second nature, but the following are some general guidelines to get Beloved Customer started.

Most Japanese woodworking tools, including plane blades and striking chisels (oiirenomi, atsunomi, mukomachinomi, etc.) perform well in most construction and furniture woods with the standard 27.5°~30° bevel angle. This is a good compromise, acute enough to cut most wood efficiently without too much friction, while still providing adequate support to the thin cutting edge to avoid chipping. 

But as Captain Barbosa advised, these are only guidelines. For example, 35° is often a superior bevel angle for chisels when quickly cutting mortises in harder woods or planes shaving tropical hardwoods.

When cutting very soft woods, such as Paulownia Tomentosa, similar to balsa wood, a 22~24° bevel angle may work best, however. 

Paring chisels (tsukinomi), when used properly, are subject to less violent forces than striking chisels, and can usually handle a 24° bevel angle. But for most woods, a professional-grade Japanese plane or chisel blade will likely experience chipping if the angle is much less. 

There are many variables and potential solutions one might consider, but your humble servant recommends starting your experiments with a 27.5~30° bevel angle for plane and chisel blades.

If Beloved Customer finds that your blade chips or dulls quicker than you think it should, increase the angle gradually until it calms down. This can result in a double-bevel blade, one difficult to sharpen freehand. In this case, your humble servant fully supports using a honing jig, at least until you achieve a flat bevel wide enough and stable enough to sharpen freehand. But don’t handicap yourself by relying solely on honing jigs forever because they can become like training wheels on a bicycle: slow, awkward and childish.

Mercurial Bevel Migration

There is a strange, almost supernatural phenomenon many woodworkers experience, the first evidence of which is a plane or chisel blade that previously held a sharp edge a long time suddenly and inexplicably beginning to dull, roll or chip sooner than before. Even professionals with many years of experience occasionally see their tools exhibit this nasty behavior. 

Some craftsmen faced with this demonic dilemma begin to question their sanity. They may ask themselves: “Has heaven turned its face against me? Where to flee to escape this curse? Do I need to see a shrink?” In past centuries and millennia craftsmen more aware of the dangers of pernicious pixies drew strange hex symbols on their walls or inlaid brass circles and pentagrams into their floors to exorcise them from their workshop. Indeed, these practices have a long history in Europe and America.

An old barn with hex symbols on the exterior walls.

Unfortunately, more than one blacksmith has been falsely accused of poor workmanship when the fault actually lay with the tool’s owner unwittingly allowing Iron Pixies to run amok. If this happens to your tools, please use the methods described below to purge any pestilent pixies in the area.

Beloved Customers would be wise to consider all possible causes of Mercurial Bevel Migration (MBM), including those unrelated to any infernal fiends that may or may not be skulking in your lumber stacks.

But if not pesky pixies, what else could cause this maniacal metallurgical malfeasance?  Never fear, Beloved Customer, there is another possible explanation, one that can be resolved without paying for years of expensive psychotherapy or consuming mind-altering mushrooms, conducting stinky ceremonies involving burning sage and spirit drums, placing small bowls of blood and milk around your workshop, enduring the pain of tattoo needles, or even the simple ritual described in the postscript below.

The more likely cause is simply that it’s human nature when sharpening chisels and plane blades with their top-heavy construction to apply more pressure to the bevel’s rearward half (farthest from the cutting edge) abrading the softer jigane body more than the harder hagane cutting layer. Eventually, as the soft jigane wears away, the bevel angle will decrease to the point where the cutting edge loses support becoming fragile.

Once you are aware of this tendency and take preventative measures (and assuming you don’t have an iron pixie infestation), all should be well.

Next let’s examine some measures to get rid of both this bad habit and trixy pixies.

Pixie Predation Prevention & Pacification

If you suspect the presence of iron pixies, you should perform the Covington Pixie Detection Test (CPDT). A reliable method is described in the next section below.

In any case, and because prevention is better than Prozac, you should begin your efforts by creating a workshop environment unfriendly to pixies. The following is a partial list of measures your humble servant has found to be effective.

Image result for brass bench dog
Brass bench dogs are an effective pixie repellent
  1. Cleanliness: Clean bench surfaces and sweep the floors daily. Vacuum and wet-mop workshop floors at least twice a year during the winter and summer solstices (approximately June 21 and December 21);
  2. Add more lighting: Iron Pixies fear light because it reveals them to their enemies;
  3. Keep a pair of boots near the door into the workshop: Pixies are deathly afraid of boots, especially when they contain the feet of sharp-eyed human children, but just the sight of boots will usually prevent them from entering a space;
  4. Keep brass benchdogs in your workshop. Expert fairyologists insist, and I agree, that having a brass bench dog (remember, Iron Pixies do not fear iron or steel or the IRS) or two close by will banish Iron Pixies to the workshop’s dark recesses and keep their nasty claws away from tools. The deterrent effect of bench cats is unclear, but if you decide to rely on one, be sure it bothers to stay awake;
  5. Welcome spiders: Although this may seem to contradict No. 1 above, Iron Pixies fear spiders, especially daddy longlegs, who delight in tangling them in their webs and tickling them to expiration.
  6. Make regular offerings to the gods of handsaws. More on this subject in future posts.
Richard Kell bevel gauge
A compact and effective brass bevel angle gauge by Richard Kell

A more mundane but sure way to prevent MBM is to make or buy a bevel angle gauge. Aluminum, stainless steel or even plastic gauges will work of course, but brass or bronze are more effectual at purging perfidious predatory pixies because copper is toxic and zinc gives pixies noisome gas. Be sure to store it close to your valuable steel tools to help repel the vicious little farts.

Here’s the important thing: once you have this tool in hand, use it to check each blade during sharpening to ensure you are maintaining the correct bevel angle instead of allowing it to decrease incrementally over repeated sharpening sessions. Make this a firm habit. More on this important subject in future posts.

Remember to measure the bevel angle at the blade’s far right or left edges because the hollow-ground ura of Japanese blades makes it difficult to correctly measure the angle if you check it elsewhere.

Pixie Detection Methods

A serious pixie infestation in a toolchest located in a clothing-optional workshop. Notice the absence of bench dogs, brass bevel-angle gauges and boots in this image. Pure madness and an invitation to disaster!

Iron Pixies are secretive creatures most people never see, but if you suspect you have an infestation, a detection test is called for.

While there are many proven methods to test for pixie infestation, the least expensive non-toxic method to test for pixie infestation is the Covington Pixie Detection Test (CPDT). The execution is simple, but it requires some skill and confidence in one’s abilities.

To the perform the CPDT, sharpen a plane blade, and while doing so, attempt to “stick it” on the stone as shown in the photo below. This phenomenon is evidence the stone and the blade are in such perfect contact that the suction between the blade and the stone’s surface is strong enough to support the weight of the blade. It can only be achieved when localized sources of natural chaos, of which iron pixies are a prime example, are under control.

No, this is not a trick photo with concealed supports, superglue, or photoshop enhancements. This blade, hand-forged by Mr. Nakano Takeo, is “stuck” to the wet stone’s surface. This is a rite of passage those who wish to become proficient in sharpening must eventually accomplish, iron pixies or no. Not recommended for potato chip-thin Bailey-style plane blades.

Assuming your blade, stones, and skill level are up to the task, if you are unable to accomplish this marvelous feat even after many attempts, the likelihood of an infestation of peevish pixies nearby is high. In that case, use the preventative measures listed in the section above, or the banishment ritual described in the postscript below. You should also flatten your sharpening stones (especially the rough and medium grit stones) and make sure your blade’s bevel is perfectly flat. Bulging bevels are the pernicious pixie’s playground. (Aha! Iambic pentameter!)

Fair warning: If you stubbornly persist in your efforts to “stick” a plane blade before purging the area of pixies, they may go berserk to prevent this sublime event from occurring. If that happens, Katy bar the door!

Infernal Pixies! You Shall Not Pass!!

In the next stage of our adventure, we will examine some of the health ailments blades commonly suffer.  High cholesterol in chisels? Planes with pneumonia? Or just toolish hypochondria? Stay tuned to find out more.

YMHOS

Postscript: Pixie Catch-and-Release

A few tender-hearted Beloved Customers and Gentle Readers, sick and tired of their precious tools rusting and being stolen, have asked your humble servant for advice about live-catching Iron Pixies they sense scuttling around in the dark and dusty places of their workshop and then releasing them back into the wild. I can only share my meager experience.

While the concern gentle souls have for the welfare of natural creatures is laudable, it is decidedly misplaced because pixies are not natural creatures like squirrels, cows or even tax collectors (there are some who contend the later are closer to trolls than natural beings, but that is a scurrilous rumor promulgated by tax accountants). But I digress.

Gentle Readers should note that Iron Pixies are not natural beings, but rather supernatural creatures from the land of Faerie that choose to leave their native plane of existence to inhabit workshops in our mortal world for the simple malevolent joy of ruining iron and steel tools and inducing mental anguish in mortals. We may catch them and we may crush them, but few have the ability to banish them entirely from our world, contrary to the claims of The Learned Society of York Magicians, the only documented exception being Mr. John Uskglass and perhaps, it is rumored, an obscure magician named Mr. Jonathan Strange.

My point is that, since we mortals have no access to the supernatural environment from whence pixies hale, we cannot “release” them back into their natural environment, but can only strive to make our workshops less attractive places for them to pursue the malevolent mischief they love.

Your humble servant has not researched all methods of trapping pixies and so can offer no certain advice. However, if you are determined to design and deploy such a live-trap, remember that iron pixies are exceptionally clever and can easily avoid and certainly destroy most any trap, especially if it has metal parts.

Bench cats have been known to frighten pixies away, but most are just too damn lazy. And no matter how you cook them, and regardless of the hot sauce used, iron pixies always taste like old garbage dumpster wheels and are almost as hard to chew, so scrumptiousness is never sufficient incentive for our feline masters.

I have experienced moderate success banishing iron pixies from my humble workshop, at least temporarily, using a combination of the techniques listed above and an ancient ritual.

To perform a pixie banishment rite, you will need a few things, chief of which are at least one small, quick, sharp-eyed, strong-lunged child that still believes in Santa Clause, and a pair of large, leather work boots. Never steel-toed boots, mind you, no steel at all!

The more children the better. You may need to borrow boots from friends and family. Don’t forget the Santa Clause thing.

Open one door leading directly to the outside just a crack. Not too far, only 1~2 inches.

Help your sharp-eyed children put the boots on their little feet in your workshop where the pixies can observe (this forewarning visibility is important), being sure the boots can’t accidentally slip off.

Direct said child (or children) to march around your workshop in three circuits widdershins (counter-clockwise) while stomping their boots loudly and screaching “Pixies Flee!!” (ear protection may be necessary).

Have each circuit end at the partially-open door or window whereupon each child should toss a small piece of steel or iron, such as a nail, screw or nut, through the opening while shouting these same spells.

You should lead the way and set the example, of course.

Nothing scares pixies as much as small children stomping close by in big boots while screeching loud magical commands. Seeing iron or steel then fly through an opening to the outside will usually drive them out.

A word to the wise: Incentive must be provided to the child (or children) for the ceremony to succeed because, as Jeffy Chaucer famously wrote: the “Labourer is worthy of his hire.” Chocolate or other sweets work fine. The child’s mother may object to this form of incentive pay, but carrot sticks provide neither sufficient energy nor adequate motivation to small children in my extensive experience. Besides, who ever heard of fruits and vegetables helping magic? Codswallop!

All the same, best to do it when Mom is away if you think she might degrade the ritual through nagging about nutrition or cavities.

Some Faeriologists have suggested that a variation of this ritual is also effective at driving hidden monsters from under beds and out of closets in residences. Indeed, such a ceremony has been an annual traditional ritual in most households in Japan since ancient times.

For banishing monsters from living spaces in the Japanese tradition, open all doors and windows during daylight hours on February 4th, and, while screaming “Demons Depart!!,” members of the household, including children of course, should each toss a handful of dried beans through each open door and window to the outside, closing them tightly afterwards. Apparently demons like beans. Boots are not mandatory.

Children may be small, but they have an important role in protecting the home and family and your tools too. It’s a father’s duty to let them know it and show them how. Chocolate helps.

In the next exciting article in this breath-taking series of love and lust we will consider the role of monkeys in sharpening. Come on back now, ya’hear!

YMHOS

The scene of a conversation between your humble servant and a small child regarding pixie purging. Do you think the wig is too much?

If you have questions or would like to learn more about our tools, please click the “Pricelist” link here or at the top of the page and use the “Contact Us” form located immediately below.

Please share your insights and comments with everyone in the form located further below labeled “Leave a Reply.” We aren’t evil Google, fascist facebook, or thuggish Twitter and so won’t sell, share, or profitably “misplace” your information. If I lie may pixies gnaw my bones every hour I live.

Sharpening Part 10 – The Ura 浦

Related image
Geographic Ura
Chisel Ura. The term “Ito-ura” refers to the narrow land located immediately behind the cutting edge.

If a craftsman wants to do good work, he must first sharpen his tools.

Confucius, The Analects

We talked about the Ura in the previous article in this series (Part 9).

It is a defining detail in most Japanese woodworking blades, and one we must understand if we are to efficiently sharpen them, so in this post we will examine this important feature in more detail.

What is the Ura?

Japanese plane and chisel blades have a unique and intelligent design feature at what is called the “flat” on Western plane and chisel blades, and is called the “Ura” (pronounced oo-rah) in Japan.

Ura translates into the English language as “bay,” as in a protected area where the sea meets the shore. At the center of the ura is a hollow-ground, depressed area in the hard steel hagane layer that serves two purposes. 

One purpose of this detail is to make it easier to keep the blade’s “flat” (the shiny areas surrounding the depression) planar (in the same plane).

If you pay attention when sharpening your wide Western chisel and plane blades lacking the Ura detail you will notice that, after many sharpening sessions, the blade’s flat, which was once planar, becomes convex with a high point at the flat’s center making it difficult to keep the extreme cutting edge, especially the corners of the blade, in close contact with the sharpening stone. Yikes!

This doesn’t occur because you don’t know how to sharpen your blades, or because of pernicious pranks by pesky Pixies, but simply because your sharpening stones/platens/paper tend to abrade the blade’s perimeter more aggressively than the center. The resulting curvature makes it more difficult to polish the flat’s extreme cutting edge. Major buzzkill.

Because of the most excellent Ura, Japanese woodworking blades are quickly fettled initially and tend to stay planar without a second thought for many years of hard use, an important benefit if you count your time worth anything.

Another purpose of the Ura is to reduce the square inches or square millimeters of hard steel you must polish during each sharpening session. As you can see from the photo above, the shiny perimeter land is all that touches the sharpening stone. Compare this with the black area which doesn’t touch the stone. That’s a lot of hard steel you don’t have to deal with. Besides making the job easier, it also saves a lot of time when sharpening and helps one’s expensive sharpening stones last longer. Time is money and stones ain’t cheap, as my old foreman scolded (lovingly, I’m sure).

Even if you don’t use your tools to make a living, you should at least recognize that time spent sharpening is time stolen from the pleasure of making wooden objects.

The Downside Of the Ura

A worn-down multiple-ura chisel

Despite my poetic praise, the Ura detail is not all blue bunnies and fairy farts, because it does have one unavoidable downside: Over many sharpening sessions the Ura unavoidably becomes gradually shallower, and the lands surrounding the Ura on four sides become correspondingly wider. Nothing lasts forever except regrets and taxes.

It is not uncommon to see old chisels and plane blades with the hollow-ground area of the Ura almost disappeared. You can postpone this day by sharpening the Ura wisely. However, in the worst case where the Ura disappears entirely, you will still be left with an entirely usable Western-style flat, so not all is lost.

In the case of plane blades, unless the plane’s ura is subjected to a brutal sharpening regime, the land that forms the cutting edge (called the “Ito ura” meaning “strand” as in a flat area on a riverside, in Japanese) tends to gradually become narrower, and even disappear entirely after numerous sharpenings. Of course, when this happens, the blade loses its cutting edge, and the land must be restored by “uradashi” (oo-rah-dah-she) aka “tapping out” or bending the cutting edge towards the ura side, and then grinding it flat to form a new ito-ura land. Tapping out a blade requires some caution, but is not difficult. We will discuss the how-to of this aspect of blade maintenance in a later article in this series.

In the case of chisels, which have smaller and shallower Ura compared to wider plane blades, the land at the cutting edge does not typically require tapping out, although it’s certainly possible to tap out wider chisel blades. Narrow chisel blades, on the other hand, are difficult to tap out without damaging them due to the rigidity produced by the hard steel layer (detailed in the previous post in this series) wrapped up the blade’s sides.

Mitsuura Chisels

Ichimatsu Nomi Ura (by Kiyotada). After many years of hard use, the multiple ura (aka “mitsuura”) on this oft-sharpened chisel used to pare precision joints has become shallower and the planar lands have become wider. Still entirely useful, it now takes more effort to sharpen than when new.
Spearpoint Mitsuura chisels made by Sukemaru using EDM technology. Sadly, Mr. Usui no longer produces them.

Some chisels are made with multiple ura, typically called “mitsuura” meaning “triple ura.” Mitsuura chisels are more difficult to sharpen than chisels with a single ura because the total area of hardened steel that must be polished is larger. The Ura of mitsuura chisels also tend to wear-out quicker than single-ura chisels because each individual ura is shallower in depth than standard Ura. They look cool, but I am not a fan of multiple ura except in a few specific applications.

In the next stage of our journey into the mysteries of sharpening, we will wander through the metaphysical realms of the “Fae.” A word of caution: Be sure to have a brass bench dog in your pocket when you leave the well-lighted pathways and accept neither food nor drink from anyone’s hand until we return, not even a cheeseburger with fries. ☜ (◉▂◉ )

YMHOS

If you have questions or would like to learn more about our tools, please click the “Pricelist” link here or at the top of the page and use the “Contact Us” form located immediately below.

Please share your insights and comments with everyone in the form located further below labeled “Leave a Reply.” We aren’t evil Google, fascist facebook, or thuggish Twitter and so won’t sell, share, or profitably “misplace” your information. If I lie may I drown in my own ura.