Tag: Stan Covington

Sharpening Part 6 – The Mystery of Steel

“The most beautiful experience we can have is the mysterious. It is the fundamental emotion that stands at the cradle of true art and true science.” 

Albert Einstein, The World as I See It

The blades we are considering in this series of articles about sharpening are made from iron and steel, so it makes sense to examine these materials from the viewpoints of sharpness and sharpening. But let’s begin by considering some of the interesting supernatural and legendary aspects of working these materials.

Steel Magic

Steel is a magical substance. Since ancient times, the blacksmiths that worked it were sometimes seen as gods, sometimes as wizards, and always as essential. Shaped by local traditions, the power blacksmiths possess to combine and shape the elements of earth, wind, water, fire and even spirit into the tools and weapons of everyman’s trade was seen as magical.

Even the blacksmith’s forge and anvil were seen as magical in and of themselves, and rituals incorporating them were widely believed to keep evil at bay, provide good luck and blessings, and even to cure ailments.

There were several extremely famous magical blacksmiths back in the mists of time. Please allow your humble servant the honor of presenting two of them.

Vulcan the God

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Vulcan (aka Hephaestus to the Greeks), Roman god of fire and blacksmithing. Archaic relief from Herculaneum (National Archaeological Museum, Naples).

The bas-relief stone carving in the photo above is of Vulcan, the Roman god of fire and blacksmithing, also known as Hephaestus to the Greeks. This carving was excavated at Herculaneum, located in the shadow of Mount Vesuvius near Pompeii. Herculaneum was an ancient Roman town destroyed by volcanic pyroclastic flows in 79 AD. The word “volcano” comes from the word Vulcan, so a stone carving of Vulcan retrieved from a town totally destroyed by Vulcan’s namesake is tragically ironic in the extreme.

Die Schmiede des Vulkan (The Forge of Vulcan) by Velázquez, Diego (1599–1660) Museo del Prado, Madrid, Spain.

The painting by Diego Velázquez above is from a scene in the Roman poet Ovid’s Metamorphoses where the god Apollo visits the god Vulcan in his forge to tell him that Venus, Vulcan’s wife, is being naughty with Mars, the god of war. Apollo is on the far left and can be recognized by his crown of laurel and shining aura. Vulcan stands next to Apollo with a shocked and incredulous expression on his less-than-beautiful face (nice abs, but the ‘stache needs a lot of work). Vulcan’s assistants have stopped their work on a plate armor project (decidedly 15th century in style) astounded by both the sudden appearance of Apollo and the news he delivers.

Obviously, Venus and Vulcan were not a happy couple. Legend says that whenever Venus was unfaithful, Vulcan grew angry and beat hammer on anvil so fiercely that sparks and smoke rose up from the top of Mount Etna on the island of Sicily, under which he had built a forge, creating a volcanic eruption. You could say he blew his top (ツ).

Perhaps Apollo is sharing this tidbit of news just to help out his old buddy Vulcan, or perhaps his reason for snitching is malicious. Whatever the reason, I think it’s safe to assume people loved drama in the 1600’s too. Nothing new under the sun.

Your humble servant’s point is that Vulcan (Hephaestus) was not only worshiped in ancient Greece but had a presence in popular culture from before an Etruscan tribe drained the swamps that became Rome in the 10th century BC, to as late as the 1600’s. And I won’t even get into Trekkie lore. Now that’s an influential craftsman.

Wayland the Smith

Wayland the Smith (Vølund Smed) 1873 sculpture. Stockholm Sweden.

Wayland the Smith was another famous blacksmith, metalworker, and magician. He was said to be a Lord of the Elvish folk who learned his trade from either giants or dwarves.

While not as old as Vulcan in human history, Wayland’s legend survives throughout Europe, and the products of his forge were central to heroic traditions of many peoples and kingdoms long before the days of the Viking longboats.

He is credited in Norse, Germanic, and Anglo-saxon legends and literature with forging magical objects of great renown, including rings of power (no, Professor Tolkien didn’t invent the concept), the impenetrable coat of ring mail worn by Beowulf during his epic battle with Grendel, the magical sword named Gram that Sigurd used to slay the dragon Fafnir, and even King Arthur’s sword Excalibur. Not just scribblers, but even Alfred the Great, king of the Anglo-Saxons (c.886~899AD) on the island that would later become England, wrote of him.

The chains on the legs of the statue above probably represent his maiming and imprisonment on an island at the pleasure of an evil Norse king upon whom he took a bizarre revenge involving unconventional drinking bowls and jewelry. Is Wayland’s slavery one of the reasons blacksmiths have wrapped chains around their anvils since ancient times, or is the purpose just to secure the anvil and mute the bright ringing song they sing? Another mystery…

Wayland’s influence in modern times is not insignificant. For example, Leonardo Da Vinci’s fascination with flying machines was probably stimulated by the legends of Wayland building and using a winged contraption to escape his slavery. And unlike Daedalus’s deadly device in Greek legend, Wayland’s glue didn’t melt.

File:Gowy-icaro-prado.jpg
Daedalus (the bald nekid guy) and his son Icarus (the falling nekid guy) using wings to escape the island of Crete, home of labyrinths and monsters. Against his father’s advice, legend holds that Icarus flew too near the sun melting the wax securing the feathers that made the wings function. “Oops!” Murphy chortled in his glee.

The legends of Wayland the Smith were once deadly serious matters.

In a lighter vein, the writings of J.R.R. Tolkien, the author of the most popular works of written fiction in human history (no kidding), were influenced by these same legends.

The Blacksmith’s Shop

While some blacksmithing traditions such as those involving Vulcan and Wayland are decidedly pagan in origin, others fit well with Christianity. For example, the ring of the blacksmith’s hammer on his anvil was once believed to strengthen the chains that bind the devil in hell barring him and his demons from God-fearing folk’s hearths. In darker times in human history the blacksmith’s workshop was believed by many to be a safe haven from evil forces, one that Satan and his imps actively avoided.

File:Le Nain Brothers - Blacksmith at His Forge - WGA12575.jpg
The village smithy. Notice the horseshoe on the wall in the background, and its downward orientation. Due to the lack of char marks on the wall, we can tell this is not where the smith normally hangs horseshoes to cool. There is method to the madness.

Below is a download link to a charming story about why blacksmiths ring their anvils and how to make sure a horseshoe brings you luck at work and at home. I encourage you to read it.

Legend of the Ringing AnvilDownload

The Japanese Smithy

If you have ever spent time in small one-man traditional smithies of the sort where our blacksmiths labor to produce the tools we provide to our Beloved Customers then you know the other-worldly atmosphere typical of such workplaces. Imagine wattle and daub walls and exposed, twisting, rough-hewn wooden roof beams blackened with 70+ years of soot, the compacted but lumpy dirt floor, the darkness of carefully-managed sunlight (the better to judge metal temperatures by eye), the bitter smells of charcoal fumes, straw ash, flux, hot steel and smoking oil; the roar of forced gas forges; the sounds of grinders and the dangerous leather belt systems that drive them; and finally the terrible racket and vibration of spring hammers and ringing anvils. A man that could work alone in a place like that 12 hours a day for 65 years is not afraid of your garden variety demon, no siree Bob.

It’s quite a sight to see a craftsman working in such an environment. They often start late in the morning to avoid noise complaints from the neighbors, and work until late at night doing heat treating when sunlight won’t interfere with the colors of the hot metal.

By noon their arms are black to the elbows and there are charcoal smudges are on their faces. The sight of a small, wizened 82 year-old man with strong sinewy arms scowling into the face of yellow-hot steel as he hammers the hell out of it is like a scene from Dante’s Inferno. Something of the ancient magic of Vulcan and Wayland can be felt in such places.

In the next post we will examine some alchemical aspects of the Mystery of Steel. Until then, I have the honor to remain,

YMHOS

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Mr. Junichi Takagi, Japan’s last adze blacksmith, passed away April 2, 2019. A kind man, talented blacksmith and excellent sharpener. He will be missed especially since he had no apprentices and left no one to carry on his work.
Mr. Takagi working on his wet grinder in August 2018.
Mr. Nakajima’s Forge in Yoita, Nagaoka Japan. Unfortunately it was recently demolished following his retirement.
Nakaya Takijiro’s forge, originally made for swords, now dedicated to forging handsaws.

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The Story of a Few Steels

Sharpening Part 5 – The Sharp Edge

The gem cannot be polished without friction, nor man perfected without trials.” 

Confucius

This post may not be as entertaining as previous ones in this series about sharpening Japanese woodworking tool blades: No swords or artwork or handsome Hollywood philosophers, I’m sorry to say. But with this addition to the series we will roll up our sleeves and get some work done.

Many Beloved Customers and Gentle Readers already know most of what is presented in this post, and of them your humble servant begs forgiveness, but it may be that careful Gentle Readers will stumble upon one or two gems among these scribbles.

You know the difference between the quality of work a sharp edge produces compared to that of a dull edge. The work goes quicker, cuts are clean, and finished surfaces are smooth, maybe even shimmering. Your tools are happy, singing and chirping as they cut away. But have you given thought to what a sharp edge really is?

In addition to the answer to this question, we shall also examine the naughty cutting edge that seems sharp fresh off the stones but suddenly and unexpectedly dulls after just a little use. Would it be useful to know how to detect such a cutting edge before it fails wasting your time and money?

Being in the construction industry, your humble servant would like to begin building this discussion on a firm foundation anchored in bedrock. So let’s get to digging.

The Basics

A cutting tool is essentially a wedge, with two flat sides meeting at an angle. Applying force causes the tool’s cutting edge to wedge apart and sever materials, be it wood, metal, meat or mushrooms.

The geometry of this wedge is critical to its performance. At one extreme, the angle could be 90°. It won’t be sharp, it will be hard to push, and it will crush and tear wood instead of cutting it cleanly, but it will be durable.

At the other extreme, the wedge might be made more acute, say 3°. Such an edge could be made extremely sharp indeed, but it would be too fragile to cut anything but whip cream for long. The point is that the sharp edge is a compromise, acute enough to cut well, but not so acute that cutting pressure and friction will make it dent, roll, wear away, crack or chip easily.

In a woodworking tool the wedge is incorporated into a blade as a beveled cutting edge. In an efficient tool this edge that will be thin enough to cut the intended material well, but at the same time resist dulling for a relatively long time. The words “well” and “long” in the previous sentence are where the magic lies. We will examine these important points in future posts in this series.

Wood Shaving’s Eye View

Ideally, the extreme edge of the ideal metal tool’s extreme cutting should be perfectly smooth and only a single molecule thick. In the real world, cutting edges are rougher and wider, but still manage to cut pretty well.

Examine a sharp cutting edge under a microscope, and you will see imperfections. A dull blade will look even worse of course, showing dents, rips, and even cracks. 

knife edge_microscope800
The edge created by an 800 grit stone
Still sharp but starting to wear
A dulled and dented knife blade

Using a blade wears away and damages the cutting edge rounding and flattening it, destroying the geometry that makes it an effective wedge. Sharpening is the process of (1) restoring the intended wedge geometry; and (2) removing defects from the meeting of the wedge’s sides by abrading metal from one or both sides down past any damage, leaving a relatively clean, uniform wedge with minimal defects. This is the sharp edge. It is what the wood experiences. It requires effort to achieve, but it ain’t rocket surgery.

The most difficult part of achieving the two objectives listed above is making nothing from something, in a place that cannot be seen. Now that’s a Zen koan if I ever heard one.

Building confidence in one’s ability to achieve results at the microscopic level is not easy. The key is to understand the goal, and to consistently follow reliable procedures. I will describe those goals and procedures in future posts in this series.

Edge Failure

The ideal cutting edge is uniformly sharp, but few edges in the real world meet these severe criteria at the microscopic level where it matters most. A blade may be sharp in some places, and dull in others. We have all experienced those irritating blades that cut well for a while and then dull quickly and suddenly.

One common cause of these inconsistencies and failures you should be aware of is a cutting edge that is sharp only because it has a defect called a burr. Burrs by themselves can be sharp indeed, but in the case of chisel, plane and knife blades they are thin, irregular, and fragile, and being relatively unsupported by the rest of the blade, can easily bend, roll over, or break off at the root suddenly and unpredictably creating a nasty dull edge in an instant. A truly sharp edge will not just feel sharp, but will stay sharp for a relatively long time because it is properly shaped and well supported, instead of being only temporarily sharp because of an irregular and fragile burr.

I call burrs a “defect” because they are, but creating a burr is an important step in making a sharp edge. The trick is to continue to refine the wedge after the burr is created until the burr melts away on the stones and the edge is as perfect as we can reasonably expect to make it. Stop the refinement work too soon, or fail to do it completely, and all or part of that unreliable burr may survive to suddenly plop a floater into your punchbowl.

So how does one tell if an edge is properly sharp and free of deceptive burrs without using a scanning electron microscope?

Do you remember ‘Nando’s philosophy described in my previous post? One must reverse the latin lover’s logic. Don’t rely on mahvelous appearance. Don’t rely on silly bar room stunts like shaving arm hair or telemarketing tricks like cutting strips of paper. Develop skills and train your senses other than eyesight to detect the shape of steel at the microscopic level. This may sound strange but it is possible because your nerve endings are microscopic and can sense the difference between a burr and a truly sharp edge.

I will save the explanation of detailed techniques for a future post, but for now, here are two essential techniques for sensing things too small to see: Use your fingerprints and the exquisitely fine nerves connected to them to detect the presence and size of burrs; Use your fingernails and the microscopic nerves connected to them to check the condition of the burr and determine when the blade is ready to move onto the next stone in the sharpening process. Please don’t cut yourself.

In the meantime, let’s have some pleasure before pain. Prepare to be amazed, Ladies and Germs, because in Part 6, coming soon, The Mystery of Steel will unfold before your very eyes! There will be marble relief carvings, bronze statues, oil paintings, gods and demons, death and destruction, and even a pagan soap opera about forbidden love. Oh my! We’re in negotiations for the movie rights now ♫꒰･‿･๑꒱ and need someone to play Vulcan. If anyone knows Spiderman’s agent, please have his people contact my people right away.

YMHOS

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The Story of a Few Steels

A Cool Coat

A few weeks ago I posted an article about seismic dampers used on a high-rise building currently under construction near my office in Marunouchi Tokyo (a 3 minute walk from Tokyo Station). I pass this same jobsite on foot several times a week and take the occasional snapshot. I have other construction sites ongoing, but no high-rise buildings right now, and none that non-disclosure agreements will allow me to share with you. So this is a good opportunity to introduce you to some lesser-known details about major construction work in Tokyo as seen from the sidewalk without risk of offending any clients.

Please notice the gentleman in the orange uniform and big boots in the picture above. I have never met him before, but judging by the color of his uniform, he’s an employee with Obayashi Corporation, one of Japan’s largest and arguably most competent general contractors. I have done a lot of work with this company and respect it a great deal.

Sir Norman Foster, a famous British architect and the designer of Apple’s Campus 2 in Cupertino, California once said that Obayashi Corp is the world’s best general contractor. I tend to agree. And I say this as someone that used to work for two of Obayashi’s competitors in Japan, and who has also worked with many other contractors around the world. If you have visited the Boulder Dam near Las Vegas, Nevada recently, you probably drove over Obayashi’s bridge spanning the gorge.

Anyway, please notice that this erstwhile young man is wearing what looks like a thick coat all puffed up like a marshmallow on a sunny day in mid-August in 37℃ (98°F) temperatures in the shade and 76% relative humidity? Is he loco, Cisco?

Setting aside the somewhat inelegant safety boots (something glittery by Jimmy Choo would suit better methinks) and rolled trouser cuffs that do not help the fashion statement his ensemble is making, you will notice a round white grill on his coat near his elbow. There is an identical grill on the opposite side of the coat you can’t see.

If you haven’t already guessed, the two round grills are actually battery-powered fans pulling outside air into the coat and pushing it out at his collar and wrists cooling our young contractor as he labors diligently in the heat.

Makita tool cordless fan jacket
A maintenance dude sporting a two-fan cool coat

These “fan coats” are very popular in Japan. They can make a big difference so long as one can perspire adequately. Indeed, these battery-powered garments are credited with saving many construction workers from heat stroke and even death in hot months.

They also come in kiddie sizes and many colors.

Makita makes a “Cordless Fan Jacket” that is sold on Amazon overseas for a lot more than it costs in Japan. Instead of two fans, it has a single fan at the back. I have not used the Makita product and can’t endorse it.

The Makita Cordless Fan Jacket. Notice the high, stiff collar directing moving air over his neck for better cooling, and the fan unit at his back. The cord is leading to the angle grinder he is using, not to the fan.

I hope the weather in your neck of the woods is always balmy with cool breezes in summer so a coat like this is never useful. In the meantime, I’m just waiting for someone to develop sexy-looking steel-toed boots with cooling fans. I wonder what Jimmy Choo will be offering later this year (ツ)

YMHOS

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The Varieties of Japanese Chisels Part 12 – The Usunomi Paring Chisel (薄鑿)

24mm Mentori Usunomi by Sukezane (Face View)

Our thoughts flow to our hands; our tools become as part of our bodies, the blade of our bodies.

Tsunekazu Nishioka, Temple Carpenter, Horyuji Temple Restoration, Nara Japan.

In the first post in this series, we examined the two main categories of Japanese chisels: the tatakinomi designed to be struck with hammer, and the tsukinomi used to pare wood without using a hammer. Beginning with this post we will shift our focus to several varieties of tsukinomi.

If you need to cut precise joints in wood, then you need both striking and paring chisels.

The most popular variety of tsukinomi is the mentori usunomi (面取り薄鑿）which translates to “beveled thin chisel.” The name is appropriate as the blade is long and thin and the neck gently tapered.

42mm Mentori Usunomi by Sukezane (Side View)
42mm Mentori Usunomi by Sukezane (Face View)
42mm Mentori Usunomi by Sukezane (Ura View)
24mm Mentori Usunomi by Sukezane (Ura View)

Description

Just as with oiirenomi, the blades of tsukinomi can be made with different profiles, such as the stiffer rectangular cross-section of the kakuuchi, or the more triangular cross-section of the shinogi usunomi.

The mentori usunomi has a streamlined cross-section similar to the mentori oiirenomi with two bevels ground into the right and left sides of the blade’s face, flowing over the shoulders and feathering into the neck.

An atsunomi or oiirenomi can pare joints, of course, but the steel crown and mushroomed wood fibers on the handle’s end make them uncomfortable for using hours on end.

In comparison, lacking the steel crown and mushroomed handle, the usunomi is more comfortable to use. More importantly, the blades and handles of these chisels are longer and lighter in weight providing superior angular control for precision paring operations.

Western paring chisels by comparison are even thinner and have longer blades than Japanese paring chisels. There can be no denying they do a fine job. But Japanese paring chisels like the usunomi have a few potential advantages worth considering.

The most significant advantage is that the steel cutting edges of Japanese paring chisels are much harder. The paring chisels our blacksmiths forge are around 65~66 HRc in hardness, whereas Western paring chisels are usually around 55 HRc. A Western style paring chisel with its thin blade of uniform steel hardened to 65 HRc would easily snap in half in practical use.

This extra-hard lamination is hand-forged by our blacksmith from Hitachi Metal’s Yasugi Shirogami No.1 steel (aka “White Label Steel”), an exceptionally pure high-carbon steel that makes possible an edge that stays sharper longer, with the result that, given the same number of sharpening opportunities and time in a given workday, a professional-grade usunomi will help you do more hours of high-quality work than a softer blade.

For craftsmen that use their tools to feed their families this higher-level of performance is not something to be sniffed at.

The second advantage of the Japanese paring chisel is their hollow-ground ura which makes it easier to maintain a flat bearing surface, especially important in the case of the hard steel used in our chisels. If you haven’t used Japanese chisels, this claim may sound unlikely. But please recall that there are narrow lands surrounding the ura, all in the same plane, that create a flat bearing surface to guide the chisel.

Usage

This tool is well-suited to reaching into narrow mortises and other wood joints to clean and pare surfaces roughed out by axe, adze, saw and tatakinomi to precise tolerances.

It excels at trimming mortise side walls and end walls. And shaving tenon cheeks and shoulders to precise dimensions without causing spelching or cutting too deeply as shoulder planes are wont to do is a piece of cake.

In addition, the longer blade and flat face of the usunomi make it ideal for paring angles, such a 45° mitres, in combination with wooden guide blocks or jigs.

The usunomi may be struck with the heel of the hand, but never with a hammer or mallet. The slender neck, thin blade, and un-reinforced handle will simply not accept such abuse gracefully.

Chisels intended to be struck with a hammer typically perform best with a cutting edge bevel of 27~30°. Any shallower and the hard steel at the cutting edge may chip instantly dulling the tool. However, the cutting edges of usunomi along with other tsukinomi are not normally subjected to the high stresses chisels motivated with hammers must endure, so the cutting efficiency can be increased by lowering the angle to 24° or so without creating problems, depending of course, on nature of the wood you need to pare and the type of paring you intend. For instance, paring end the grain of maple may require a steeper angle than when paring the long grain of pine.

If you have used long-bladed Western chisels hard for a few years, you will have no doubt experienced your chisel’s flat becoming somewhat rounded over after many sharpenings. This occurs because, for various reasons, the center portion of the blade’s flat is abraded at a slower rate when being sharpened than the blade’s perimeter, resulting in distortion regardless of whether you keep your stones perfectly flat or not.

Obviously, a chisel with a flat that is banana-shaped lengthwise and crosswise is not ideal for paring flat surfaces, but there is a bigger problem. Namely, it is simply more difficult and time-consuming  to create a sharp edge on a blade with a curved flat than one with a true flat. A flat like this begs for amateurish tricks using rulers, etc.. of the sort professionals would be embarrassed to use. A friend once scathingly described these techniques as “training wheels.” Oh my.

The ura on the Japanese chisel is specifically designed to deal with this shortcoming, and it does a great job of it.

30mm Unsunomi by Nagamitsu – View of Mitsuura
30mm Unsunomi by Nagamitsu – View of Face
30mm Unsunomi by Nagamitsu – Closeup of Mitsuura

The 30mm usunomi in the photo above has an ura with three hollow-ground areas instead of one. This detail is called a ” mitsuura” ミツ浦 meaning ”triple ura.” It has the advantage of providing a larger bearing surface than the standard ura does, one that is helpful when used with wooden jigs for paring to precise angles, for instance. It also helps the ura index better when paring large surfaces, especially with chisel blades wider than 24mm.

Some people prefer chisels with the mitsuura detail for their appearance. I admit mitsuura look sexy, but I am not a fan of using this detail unless it is truly necessary because of the downsides I will not deal with in this already overlong post.

If I can liken the atsunomi to a shire horse, then the usunomi is a falcon. Both are beautiful powerful animals, but just as one wouldn’t use a draught horse to chase down a rabbit, or a peregrine to pull a plow, neither oiirenomi nor atsunomi are as effective as the usunomi for paring and cleaning joints.

A Shire Horse and His Little Friend. Stout, heavy and strong is good for some jobs, but…
Slim, light, fast and sharp is better for others.

The usunomi is one of those tools that is a pleasure to use.

Among woodworking tools, the usunomi is special: as it becomes part of your hand, you will discover that neither the blade nor your hand but your mind is shaping the wood.

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 a shire horse polish his hooves on my back.

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Sharpening Part 4 – ‘Nando and the Sword Sharpener

Billy Crystal in Fernando’s Hideaway

And this is from my heart
Which is deep inside my body:
It’s better to look good
Than to feel good

Fernando

This article is a little longer and more roundabout than your most humble and obedient servant’s previous posts, but I wanted to share with you some of Japan’s history, and examples of this country’s most fabulous practical art as produced by its blacksmiths and professional sharpeners as insight into the Japanese mindset regarding sharpening. But before I get into that, I would like to share some relevant words of wisdom from Hollywood’s wisest man.

The handsome gentleman in the picture above is Fernando (actually Billy Crystal). He is neither a blacksmith nor a sharpener of tools or weapons, but his insight into physical beauty and words of wisdom about happiness are pertinent to sharpening, as we shall see below. If you are not familiar with ‘Nando, I suggest you google him or view a video or two on NoobTube.

So what does this dapper Latin lover have to do with sharpening? And swords? Read on kind sir.

As ‘Nando taught the world, a wise person will not equate looking good with feeling good. Likewise, you would be wise to not confuse a blade’s appearance with its performance. Indeed, a blade that looks as sharp as the skinny end of nothing may not actually cut well in some applications.  A good example is Japanese swords. Let me tell you a true story to illustrate my point.

When I was a university student in Japan, I was privileged to be entrusted with a number of swords that belonged at the time to the late Dr. Walter Compton, Chairman of Miles Laboratories and the inventor of Alka-Seltzer. He was a wealthy man who had a huge collection of swords obtained while an officer for the US military in Japan immediately after the war when Allied forces required the defeated Japanese people, on pain of death, to surrender all swords, civilian and military. Of course, many valuable and rare family heirlooms were surrendered or forcefully confiscated. Supposedly they all went to the bottom of Tokyo Bay in bunches, or were melted for scrap. But we know better, don’t we.

Towards the end of his life, Dr. Compton put a lot of money into having his better swords professionally sharpened, new shirasaya scabbards and furniture made, and formally evaluated in preparation for donating them to the Boston Museum of Art, where many of them reside in obscurity today. Sadly, due to progressive dementia, some of his most valuable swords were auctioned off without his permission. “The feckless sons of wealthy men” is the operative phrase in this case, I fear.

I assisted Dr. Compton’s representative by transporting over 70 of these swords to and from Japan and performing the necessary legwork to accomplish these goals inside Japan. During those years I held in my hands and feasted my eyes on rare and beautiful blades of great historical value several of which would have easily been designated National Treasures if they had been intended to remain in Japan (“National Treasures” may not leave Japan). 

During those years I spent a lot of time meeting, questioning, and requesting services of the best sword sharpeners in Japan, learning much about swords, stones, and sharpening. Dr. Compton’s reputation was such, and his swords were of such rarity and high quality, that I had no difficulty persuading the very best craftsmen to work on them and speak with me, including a famous sword polisher named Mr. Okisato Fujishiro.

Interestingly, in Japan such craftsmen are called “Togishi” (研師), an unambiguous word that can only be translated as “sharpener.” However, in the West these same Japanese craftsmen are called “ Sword Polishers.” In the post-war context, this actually may be more accurate than the Japanese term. In a post-war world it’s certainly more politic.

A very subtle, high quality sword tip brought to life by the arts of the Sword Sharpener. Notice the peaceful elegant hamon (wavy milky pattern at the cutting edge oriented towards the top of the photograph), the grain of the steel just below the hamon, and the burnished polish surrounding the fuller. Notice also the clean delineation where the blade tip, the “boshi,” begins. Very nice work.

Before the elimination of the caste system Japanese society had 4 main divisions labeled  “Shi No Ko Sho,” meaning, in descending order, Warrior (samurai), Farmer, Craftsman, and Merchant at the bottom. The Emperor, Court Nobles, and Shoguns were above these strata, although of the three, only the Shogun possessed any actual power because the man with the sword makes the rules, and those without weapons do as they are told and quickly, or they go away permanently. Thus it has always been because both fool and wise man leak red sticky stuff.

Blacksmiths and sword sharpeners were both in the craftsman caste, but curiously the sword sharpener was above the swordsmith in rank. Depending on their support among the warrior caste, and with the generous application of yellow metallic lubricant, both swordsmiths and sword sharpeners occasionally obtained noble rank, an honor to which few craftsmen, farmers, and merchants could aspire. My point is that sword sharpeners, while of relatively lower caste, often had a perceived rank higher than their craftsman position would suggest.

Why was the Japanese sword sharpener of higher effective rank than the swordsmith? I haven’t seen documentation from back in the day confirming it, but I suspect it is because the sharpener turns the swordsmith’s plain steel blade into a thing of jewel-like sculptural beauty that almost seems alive. One only has to see a sword blade fresh from the swordsmith’s shop and compare it with the same sword after the sharpener’s ministrations to understand.

The Nikko Sukezane sword, a designated National Treasure of Japan
Related image
This sword is known as the “Nikko Sukezane,” Nikko for the temple commemorating the Shogun Tokugawa Ieyasu (徳川家康, January 31, 1543 – June 1, 1616) where it is stored, and Sukezane (助真 meaning “Aid the Truth) for the name of the smith who forged it for the Kamakura Shogunate (1185~1333). The blade’s shape and crystalline pattern above the hamon are characteristic of Sukezane’s work. This sword’s brother was in my care for about 2 years while it was being polished and appraised in Tokyo.
大般若長光-画像2
This sword is another of Japan’s National Treasures. It was forged by a swordsmith name Nagamitsu (長光）during the same time period as the Sukezane above. The tang (nakago) is corroded by exposure to bare hands over a period of around 700 years. Multiple holes were drilled in the tang to accommodate a variety of hilts during its lifetime. I also had a sword by this same smith and of very similar appearance in my care for about one year, although it was not owned by Dr. Compton.
A different Nagamitsu sword, also listed as a National Treasure. An unusually healthy example.

I have even witnessed a skilled sword sharpener create a beautiful hamon (a pattern formed on the edge of a sword by the steel’s crystalline structure) on a sword forged by a famous smith that had lost the crystalline structure necessary to form an actual hamon. While a deception of sorts, the intention was not to deceive for profit (the sword was donated to a museum), but to return an unusual and historically important sword to its former beauty, a glory that would have been lost but for the sword polisher’s exceptional skills.

A dramatic chouji midare hamon in a modern sword. The pattern exists not because of a lamination or some silly pattern welding but because of the changing crystalline structure of the blade that results from the differential heat treatment process performed by the blacksmith. It only exists because of the swordsmith’s skill, but it is only visible and beautiful because of the sword sharpener’s stones and his skill with them. Is the blade sharp? Don’t judge a blade’s performance by its polish.

If we liken the swordsmith with his forge and hammer to the quarry worker cutting marble from the mountain, then the sword sharpener is Michelangelo cutting the Pietà with his chisels and files. Both craftsmen work on the marble and blade respectively, and both are essential. The sculptor uses steel to bring stone to life, while the sword sharpener uses stone to bring steel to life.

chojimidare.jpg
Another dramatic hamon in a modern sword. This pattern is a surface manifestation of the steel’s crystalline structure as created by the swordsmith, but revealed and made glorious by the polisher

But despite these artistic abilities, modern “Sword Polishers” have no interest in and put forth no effort to actually make a sword blade cut well. Indeed, in some cases, they actually intentionally dull the blade so it can’t cut, thereby making it safer. This intentional vandalism is called “habiki.”

A different style of hamon pattern on a blade with a different grain pattern. Notice the different colors and lines inside the hamon. All these crystalline details are categorized, have names, and are studied intensely by aficionados. All things equal, this sort of pattern and color is considered to be more elegant and desirable than the two more dramatic hamon pictured above. An extremely deep rabbit hole, I assure you. Please watch your step!

The Key Point

Here’s the key point your humble servant wants Beloved Customers and Gentle Readers to grasp: Despite the long years of apprenticeship, advanced skills learned, and gallons of red sticky stuff unintentionally leaked by sword sharpeners, the frank sword sharpeners I have spoken with all admitted that, of all the craftsmen in Japan that used edged tools, woodworkers like carpenters, cabinetmakers, and joiners routinely create sharper blades despite those blades not appearing to be as sharp as swords. This is consistent with my direct experience of handling over 70 swords before and after being worked on by sword sharpeners.

While there is great pleasure to be found in polishing a plane or chisel or knife blade to levels of great beauty, do not make the mistake of equating appearance with performance.

Appearance aside, and looking strictly at cutting performance, will a chisel or plane or knife blade skillfully sharpened on a 15,000 grit stone cut better and longer than if sharpened on an 8,000 grit stone? In the case of woodworking blades and kitchen knives, no it won’t. In fact, due to higher levels of friction the higher degree of polish produces in the cut, it will certainly not cut wood as well. More on this subject later.

An oiirenomi chisel by Hidarino Ichihiro. The hazy silver of the hard steel hagane lamination and the cloudy grey of the softer iron jigane lamination, combined with the shape and upward curvature of the corners of the lamination are indicative of excellent craftsmanship by the blacksmith, superior skills of the sharpener, and wonderful stones. Such details are considered sublimely beautiful to tool connoisseurs. But will the edge cut well? We can’t tell from this photo.

Keep in mind that the stones used to apply the beautiful polish and accentuate the hamon on Japanese swords are different from those used to sharpen woodworking tools. For instance, the uchigumori stones sword polishers use are small slices of soft stone glued to paper using urushi lacquer adhesive, and are only 3,000~5,000 grit. These small slips of stone are rubbed on the sword blade using thumb and fingertips.

Here is a link to a blog showing Mr. Fujishiro, son of one of the sword sharpeners I employed back in the day, making and using these thin slices of stone.

Tools are designed to perform specific tasks. Although it could do the job, more or less, you wouldn’t use a crescent wrench to stir spaghetti sauce on the stovetop would you? A longish spoon just might work better.

Does a sword’s edge need to be extremely sharp to cut the enemy effectively? No, it doesn’t because the sword’s geometry, blade orientation, speed, impact force, and the swordman’s technique drive its cutting effectiveness much more than simple sharpness. So sword sharpeners in Japan, and probably most of the world too, have always been more focused on edge durability, resistance to chipping, and appearance than absolute sharpness. In modern times, when swords are almost never used to cut living flesh outside of Saudi Arabia, the blade’s appearance may be critical, but sharpness is not a practical concern.

Another example is food preparation knives. A chef’s knife looks terribly sharp, and as it slices tomatoes and fillets fish we can see that it cuts well. But how sharp is it really? In comparison with a joiner’s plane blade, not really that sharp. But both tools are exactly suited to the job assigned them.

The “willow-leaf” yanagiba chef’s knife shown above is most effectively used in slicing or drawing motions, much as expert swordsmen use their weapons against enemies. In this style of cut, a smooth and uniform cutting edge does not perform as well as a more ragged, serrated edge as seen at the microscopic level. Therefore, there is little if any practical benefit (assuming beauty is not practical) to be obtained by sharpening a kitchen knife beyond 1,000~3,000 grit. In fact, at least in Japan, these are the upper-limit of stones in daily use by professional chefs of all varieties. Yes, and that includes sushi chefs.

But don’t misunderstand my point: In the case of both swords and yanagiba hocho knives, the bevel angle must be correct for both the blade being used and the material being cut, and the microscopic edge must be a clean intersection of planes. If you get these two factors wrong, a crescent wrench might work just as well.

The other point I want to make is that, while I enjoy using high-level skills to give a beautiful appearance to extremely sharp blades, such a blade will not perform better than an identical blade of equal sharpness but with a less polished appearance, and the extra time and money spent on improving outward appearance is wasted on bread and butter work. 

Since easily-deceived, morally-challenged Hollywood celebrities have the answers to all the world’s problems (at the cost of other people’s money, labor and freedom, of course) perhaps our quest for the sharp edge can benefit from the wisdom of the famous Latin lover ‘Nando, Tinseltown’s most elegant star. ‘Nando once shared his father’s advice that it is “better to look good than to feel good.” Accordingly, perhaps we should all go crazy nuts and polish our blades like beautiful but dull museum swords and wear waistcoats and cravats as we cut sliding dovetails and plane door stiles. After all, one must be ready for every photo op. In this way, our woodworking blades may be worthy of ‘Nando’s highest praise: “You, dahling, you look mahvelous, absolutely mahvelous!”

Fernando Lamas in “The Merry Widow.” The crease in his pant leg could slice bacon.

No, on second thought, while there is much one can learn from Fernando’s elegant philosophy, his standards of beauty and suffering are too high for me. I would rather be a simple joiner or cabinetmaker in stained work clothes that has the ability to make a blade exceptionally beautiful but chooses not to expend the time and cost required to do so most of the time, rather than someone who doesn’t because they can’t.

Although Fernando has a pressing appointment for a tango lesson (discretion prevents me from naming the young lady he will be pressing) and won’t be providing further insight today, our adventures in sharpening Japanese woodworking tools will continue in Part 5 of this series.

Let’s meet at Tsukiji for sushi afterwards. Until then, I have the honor to remain,

YMHOS

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Sharpening Part 3 – Philosophy

Always ready for battle

“A wild boar was sharpening his tusks upon the trunk of a tree in the forest when a fox came by and asked, Why are you doing that, pray? The huntsmen are not out today and there are no other dangers at hand that I can see. True, my friend, replied the Boar, but the instant my life is in danger, I shall need to use my tusks. There will be no time to sharpen them then.”

Aesop (621~565 BC)

It’s nice to have a philosophy on a subject because it helps one distill random thoughts down to the essentials.

Allow your humble servant to explain his philosophy about sharpening woodworking tools, not because it is charming and unique, and not because you should emulate it, but because it will provide insight into the things written in this blog and elsewhere. Use it to calibrate your BS meter. It’s often nose-deep when people talk about sharpening.

My philosophy regarding sharpening was shaped by my experience as a carpenter, contractor, commercial cabinetmaker, and joiner working under pressure, against a clock, sometimes with a boss watching with eagle eye, and often in front of customers, not as a hobbyist fiddling around in a garage workshop. Married young with a growing family to support, I quickly discovered that children eat constantly and in ever-increasing quantities, so efficiency was and is important to me. 

Efficiency was also important to the Clients who hired me. Sharpening and maintaining tools is, of course, part of the job, but from the viewpoint of Client or employer it’s wasted time, so it’s important to minimize time spent fiddling with tools during the work day. Accordingly, I followed the example of craftsmen I respected and started the day with sharp tools in good working order, and kept spare planes and chisels sharpened and ready to go as backup.

Self-employment hammered into me the monetary value of time. It also taught me that quality sharpening stones and tools are expensive and wear out, and that to feed wife and babies every day I had to work efficiently to minimize time and money expended on maintaining tools, while maximizing the amount of work I accomplished between sharpening sessions. 

I developed a strong dislike, nay hatred, for blades that fail to perform, refuse to become extremely sharp, that dull quickly, or take too much time and effort to sharpen. I loathe them not just because they are irritating, but because they waste my time and money. Even considering the higher initial cash outlay, the cost-effectiveness of handmade, professional-grade tools in helping my mind and hands do good work and feed the family became as obvious as a burning road flare on a midnight highway.

You, Beloved Customer, may not feel the time and financial pressures that professionals do, but owning professional-grade cutting tools and learning how to sharpen them in an efficient and professional manner will make woodworking less frustrating, more profitable, and more enjoyable.

What is your philosophy?

The journey will continue in Part 4 with wisdom from a celebrity and pictures of pretty swords. Until then, I have the honor of remaining,

YMHOS

Sharpening a plane blade at the jobsite, then back to work, jiggity-jog.

YMHOS

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Sharpening Part 2 – The Journey

You don’t have a soul, Doctor. You are a soul. You have a body, temporarily.” 

Walter M. Miller Jr., A Canticle for Leibowitz

Life is neither a dead-end course nor a race, but a hard journey along many paths all leading to a single gateway. Without exception, all the physical things, possessions, financial wealth, qualifications, status, accomplishments and accolades we value and struggle like fevered demons to obtain and preserve in this life, even our own bodies, will all return to shadows and dust. What truly matters are the friends and family that journey with us, the kind deeds we do, the joy we share, the things we experience and learn along the way, and most importantly, the quality of our souls at the journey’s end, for these are all that will pass through that last gateway into eternity with us; Nothing else matters a handful of beans.

Woodworking can be a wonderful diversion and even a source of joy during this journey, one that can make our lives and the lives of those around us more pleasant. For many it is a way to keep body and soul connected. For those that rely on their tools to feed their families, the efficiency of that work, and the joy they find in doing it are not trivial matters.

Thoughtful woodworkers on this path learn early that dull tools are an impediment to making excellent wooden products regardless of the skill of the hand and eye that manipulates them, because, being an extension of the user’s mind and hands, a dull tool will often darken the mind and leaden the hand of even an accomplished woodworker.

Sharpening has always been the most important woodworking skill. It is no coincidence that for millennia the first thing apprentices were taught once they were permitted to handle valuable tools was how to sharpen them properly.

In our time the prevalence of machinery with built-in precision and spinning cutters driven by motors and sharpened by others has made it possible for those lacking even basic sharpening skills to represent themselves as craftsmen. Although they may be skilled, I believe such individuals are less craftsmen in wood and more machinery operators.

Those thoughtful souls who aspire to become accomplished woodworkers, and not just machine operators, need minimal sharpening skills. Untold thousands of years of human history verify the truth that all other woodworking accomplishments flow from this bedrock skill.

I believe, perhaps because the men I learned from and respected also believed, that free-hand sharpening is the way a skilled craftsman maintains his tools. My experience and observations over many years have confirmed the efficiency of this technique. It is consistent with my work-driven philosophy about sharpening which I will explain in more detail in the next post in this series.

Sharpening a blade free-hand is a zen-like activity. It requires observation. It requires muscle memory. It requires consistency. It requires composure. It requires meditative focus. And at the pinnacle, it requires one to feel and hear work being done in a place one cannot see, a place where destruction creates order; where nothing becomes something.

Some will disagree with my beliefs about free-hand sharpening, especially the machinist-types, the scribblers and gurus promising instant results in a few hours for the price of a book, DVD, or class, and the purveyors of sharpening jigs disinclined to work without “training wheels.” No mystery there, so I won’t even try to please everyone, just professional woodworkers.

When professional woodworkers gather in the presence of edged tools, they often talk about sharpening techniques and rare stones, and they are always curious about the quality of other men’s tools. In Japan, it is considered rude to pick up another’s tools and examine the edges, or even to look at them too hard, but the desire is always there nonetheless because it is human nature to compare oneself to one’s peers. 

Indeed, much can be learned about a man’s quality standards and his skills from his blades. Perhaps the condition of one’s tools gives a tiny glimpse into the owner’s character.

What do your tools say about you? Some are terrible gossips, you know. (ツ)

The journey will continue in Part 3.

Allow me to end this article with a quote from the best-selling book of fiction in human history:

End? No, the journey doesn’t end here. Death is just another path. One that we all must take.

J.R.R. Tolkien, The Return of the King

YMHOS

Tianmen Gate, China. 999 steps to the natural gateway above.

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Sharpening Japanese Woodworking Tools Part 1: Introduction

Hidari no Ichihiro Mentori Oiirenomi

It is well with me only when I have a chisel in my hand

Michelangelo 1475-1564

This is the first in a series of 30 articles that describe the sharpening procedures your humble servant uses and recommends for Japanese plane and chisel blades. Links to the other 29 articles are located at the end of this one.

The purpose of these articles is to share with our Beloved Customers reliable techniques for sharpening and maintaining the tools we sell consistent with standard practice among advanced Japanese professional woodworkers.

Each article in this series describes separate but related aspects of sharpening Japanese woodworking tools, especially chisels, plane blades, and kiridashi knives. While 30 articles sounds like a lot, it is certainly not enough to cover all details of this first and most important woodworking skill. No doubt Beloved Customer could add chapters based on your own experiences.

If it seems less than concise, please understand that it is written with enough detail so even the first-time sharpener can benefit from it, but with enough advanced techniques to stimulate the interest of even jaded professionals.

Of course, if I wrote only for the professionals, then those new to the process would be left confused and frustrated. Likewise, if I wrote only for Beloved Customers new to sharpening Japanese tools, then the professionals reading it would begin to make snoring noises (highly intelligently, of course). I hope you can appreciate the conundrum and forgive the resulting compromises.

Unlike most of what is available on the internet, these techniques are not based on irresponsible rumors expounded as fact in smelly, troll-infested forums, articles in magazines written by self-educated journalists, or silly videos on NoobTube.

I didn’t invent the techniques described herein, but they are nonetheless my techniques, the results of hard experience working with, and lessons learned from, professional craftsmen in Japan over a period of some 30 years, sometimes working as a professional woodworker, and other times working as an employee of two of Japan’s largest “super” general contractors.

This series of posts has 4 objectives: To save Beloved Customer (1) time, and (2) money, and to make your Japanese blades (3) sharper, and (4) cut longer. These benefits are worth obtaining if you are serious about woodworking, as professional woodworkers must be, but the requisite attention to detail and manual skills may not come easily to some. 

Indeed, you may need to unlearn bad habits, and develop new habits, skills and muscle memory in order to achieve these objectives. This is not a 90 minute process but will take weeks, maybe months. It certainly took me years to completely unlearn my bad habits and develop the necessary skills. I am confident these writings will make the process more efficient for you, if you follow them. I only wish I had the benefit of this information all in one place back in the day.

Of course these are not the only viable solutions available. Many woodworkers are self-taught nowadays and learn how to sharpen from books, magazines, videos, and classes, and have developed methods that work well for them. I am not minimizing those successes, merely proposing methods to further advance their skills.

However, be aware that several of the techniques described herein may directly contradict the teachings of the Holy Woodworking Gurus oozing virtue received from the Giant Pixie and who make a living scribbling, making videos, and teaching classes about woodworking.

These guys achieve popularity and financial success by helping amateurs get better results quickly after reading only a few pages in their $29.99 book, or attending their 2-hour class. To maintain their popularity and income, the techniques some (but not all) of them promote must be dumb-as-dirt simple, and often involve shortcuts and gimmicks yielding “instantaneous gratification,” without the need to learn real skills. Nothing wrong with that, but is it good enough for you?

Unlike amateurs satisfied with superficial results, professionals need real skills that yield consistent results long-term. 

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Don’t be shocked, but I am not offering 90 minute gratification in exchange for your money. 

There are no “sponsors “of this blog. There are no advertisements, period, so this blog generates no direct income.

I have no “click goals, ” or “SEO strategy” to deploy; I don’t care if you “like” me, “subscribe” to my BoobTube channel (I don’t have one), or buy access to my online tutorials (don’t do those either). In fact, this website doesn’t require you to register, it doesn’t use Google Analytics, it doesn’t embed cookies in your computer or attempt to mine your data in any way.

The advice I offer is free, but if you prefer gimmicks to lifetime skills, the techniques described here are not for you. I am sure such Gentle Readers can find some brightly-colored bubble-wrap to keep themselves entertained.

Do I have a profit motive? Nope, this information is free. I am not a sneaky corporate shill trying to sell books, magazines, videos, video games, advertising space, banners, VPN services, home security systems, sharpening stones, or heaven forfend, powertools with laser sights. I have never been lent or given a tool in exchange for a review, nor have I been wined, dined, laid or paid to write good things about crappy tools. 

Over the years, my professional needs and curiosity led me to purchase literally hundreds of planes and chisels made by many blacksmiths and companies. The operative word here is “purchased.” With my own money. Not a single one was ever given or loaned to me. Some I later sold, the good ones I kept. The two points I want to make are: (i) I put my money where my mouth is; and (ii) I have no financial conflict of interest.

I have several motivations for writing and sharing this information. One is selfish convenience. Over the years, people have asked me how to sharpen Japanese tools, and I have explained the process in letters, emails, and in person many times. This series of articles is essentially a collection of my scribblings on the subject over several decades, and is intended to save me time explaining processes.

Another motivation is to ensure that the people who buy the small number of hand-forged tools we sell (our “Beloved Customers”) know how to properly sharpen and maintain them, so that those tools will provide long, productive, high-performance service. Our tools deserve to be properly maintained.

Some who experience difficulties with Japanese woodworking tools blame the tools, but in many cases the problem lies not in defective tools but rather stems from an insufficient understanding of basic sharpening principles and lack of experience. Without exception everyone with aspirations to be an excellent woodworker must go through that learning process at least once. Your humble servant hopes these scribblings will enlighten more than confuse.

But my primary motivation for making this series of articles available at no cost is to fulfill a promise I made to freely share with others the techniques I learned from the many carpenters, joiners, blacksmiths, tool makers and professional sharpeners in Japan who taught me. In exchange for this free information all I ask of you, Beloved Customer, is an open mind and eager hands. Please, don’t cut either of them.

The adventure will continue in Part 2! But be forewarned, the price of admission may double. (ツ)

YMHOS

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The Varieties of Japanese Chisels Part 11 – The Tsuba Nomi Guard Chisel (鍔鑿）

“The beginning of wisdom is to call things by their proper name.”

Confucius

The “Tsuba” in Tsuba Nomi is the Chinese character 鍔 which means “guard” as in a sword or knife guard.

Two nubs attached to opposing sides of the blade just below the handle look like the guard for a knife or sword. This chisel is driven with a hammer to quickly create a pilot hole for nails or screws. The blade becomes tightly wedged into the wood, but by striking up on these projections with a steel hammer, the blade can be extracted.

An old traditional Japanese boat made with tusbanomi chisels and nails.
Three styles of tsubanomi, and using a mallet to remove the blade after cutting a nail hole

This unique chisel comes with blades with round, square, or rectangular cross-sections.

Square and rectangular blades usually have a chisel-point beveled on two sides, but sometimes are beveled on just one side. Round blades may have simple pointed ends, but sometimes they have short triple tines to drive the crushed wood fibers into the hole.

While this chisel severs the wood fibres, unlike an auger, drill, or gimlet, it does not remove material from the hole. The ends of the severed fibers are angled down into the hole, and over time and exposure to humidity and water, will partially swell back to their original shape locking nails in tightly.

This chisel is still used in the wooden shipbuilding industry, but other than that sees very little practical use nowadays. Your humble servant owns one but has never used it in anger.

YMHOS

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The Varieties of Japanese Chisels Part 9 – The Uchimaru Nomi Gouge （内丸鑿）

Carving a wagatabon container using an uchimaru gouge

“A good tool improves the way you work. A great tool improves the way you think.”

Jeff Duntemann

The Uchimaru Nomi is a gouge, very much like those seen in the West

The name is composed of 3 Chinese characters (kanji):　内 pronounced “uchi “which means “ inside” or “interior,” 丸　pronounced “maru” which means “round,” and 鑿 “nomi” which means chisel.

This gouge has a blade very similar in cross section to its Western counterpart, but unlike Western gouges, it is made of laminated steel, has the combined tang and ferrule construction typical of Japanese chisels, and a crown to reinforce the handle and protect it from violent hammer blows. These are strong chisels used by carpenters to carve large-scale architectural components, and sculptors.

They come in different sizes and sweeps, although not as many as the Swiss make. Some are the size of typical oiirenomi bench chisels; others are the size of the larger heavy-duty atsunomi.


As you can see, these blades are are not hollow-ground.

The relatively hard layer of steel which forms the cutting edge is often subjected to more lateral forces when carving than their straight-bladed cousins, and are sometimes damaged as a result. Professional carvers will hold the thin cutting edge over a small candle flame to reduce the hardness over a small area to reduce this tendency. Your humble serrvant is not recommending this practice, just conveying information.

The technique used for sharpening Japanese gouges is identical to their Western counterparts. To sharpen the outside bevel, typically one will use dedicated sharpening stones with grooves worn into them that are slightly greater than or equal to the radius of the gouge. One removes the burr and polishes the inside curve by using a short stone with a radiused edge.

A piece of leather charged with polishing compound can be used to put a final polish to the bevel. One can also bend this piece of leather to polish the gouge’s inside surface. Easy peezy.

Standard sizes are 9mm, 12mm, 15mm, 18mm, 24mm, 30mm, 36mm, and 42mm.

There are also uchimaru gouges made as paring chisels, with longer blades and handles, slimmer necks, and without crowns.

If you need a gouge that that can hog a lot of wood, will take an exceptionally sharp edge and will maintain it a long time, then this is a tool you should consider.

In the next post, we will look at a different type of gouge, one you may not have seen before.

YMHOS

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