Kakuuchi Oiirenomi by Hidari no Ichihiro (Hyotan mark)
“Do not wait; the time will never be “just right.” Start where you stand, and work with whatever tools you may have at your command, and better tools will be found as you go along.”
George Herbert
The oldest style of oiirenomi currently available nowadays is called the ”kakuuchi oiirenomi” （角打追い入れ鑿）which means ”square-forged oiirenomi,” referring to the squarish shape. In cross section, the blade is rectangular with 4 more-or-less square outside corners. Other than this cross-sectional detail, it is identical in appearance to the mentori oiirenomi we discussed in my earlier post here.
DESCRIPTION
Where the Shinogi Oiirenomi in the previous post is thin and light, the Kakuuchi Oiirenomi is bulkier and heavier. They are also stiffer in the blade and even in the neck, which can be an advantage in narrower widths.
This added stiffness is not due to the extra mass of metal alone, but also to the fact that the steel layer is wrapped further up the blade’s sides than is possible for the thinner beveled sides of the mentori oiirenomi, as you can see in the photos above. Wrapping the high-carbon steel cutting layer up the blade’s softer low-carbon steel sides in this way creates in effect a hardened steel “U” channel with an increased moment of inertia, which makes the blade much stiffer. The thicker the chisel’s sides, and the deeper the U channel, the stiffer the blade will be.
The U-channel construction of Japanese chisels is a clever but subtle structural detail unique in the universe of chisels and one few are aware of.
Carving chisels do not have this U-channel detail and therefore are not as stiff or as tough as chisels that do. When you are considering buying a chisel, this is an important feature to confirm.
This style of chisel is better suited to cutting mortises than mentori oiirenomi (beveled oiirenomi), not simply because they are stronger, but because the squarer side edges tend to keep the blade better aligned in the mortise hole leading to a cleaner cut with a little less effort, especially in contrary wood.
The following are some pictures of two of our Kakuuchi Oirenomi by Nagamitsu, hand-forged, of course, from Hitachi Yasugi Shirogami No.1 Steel (aka “White Steel).
36mm Kakuuchi Oiirenomi by Nagamitsu (face)36mm Kakuuchi Oiirenomi by Nagamitsu (ura)36mm Kakuuchi Oiirenomi by Nagamitsu (Side)12mm Kakuuchi Oiirenomi by Nagamitsu (Face). This was the standard shape of Japanese chisels until about 70 years ago when the mentori variety became popular. Please notice how the angle between the face (surface with brand) and right and left sides is more or less 90˚.12mm Kakuuchi Oiirenomi by Nagamitsu (Ura)12mm Kakuuchi Oiirenomi by Nagamitsu (Side)
Kakuuchi chisels take less time for a blacksmith to shape than the mentori oiirenomi we discussed in Part 2 of this series. The difference in shaping these two styles of chisels is the added step of grinding the extra bevels that make the mentori oiirenomi sleeker.
Indeed, most styles of Japanese chisels can be obtained with a kakuuchi cross section, including the oiirenomi version shown in my previous post, as well as atsunomi and usunomi chisels we will examine in future posts.
Kakuuchi-style chisels take a little more effort to sharpen because the area of the bevel is larger, and more significantly, the area of the hard steel layer is greater, but on the other hand, they feel more stable on the stones.
More than a preference for greater weight, stiffness and stability, I suspect most individuals who prefer this old-fashioned style of chisel are making a fashion statement, something like “brogues not oxfords,” if I can adapt a movie quote.
In my opinion, they are not quite as elegant in appearance nor as handy as either the mentori oiirenomi or shinogi oiirenomi referenced in previous posts, but they do have undeniable dignity and presence.
What do you think?
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 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 my dignity perish and my diapers leak.
“The best investment is in the tools of one’s own trade.”
Benjamin Franklin
The next variety of oirenomi we will look at is called the ”shinogi oiirenomi” (鎬追入鑿).
Shinogi Oiirenomi – Nagamitsu 長光
Shinogi (鎬) means ”ridge” as in the angled ridge of a rooftop or mountain. It is pronounced “she/noh/gee.” I believe the word was borrowed from the sword world where it refers to an angled ridge design on the back edge of Japanese swords (shinogizukuri 鎬造り). This detail is used not only in tatakinomi but in tsukinomi as well.
Two Angles of Sword Shinogi
Blade Cross-section
View of Sword’s Shinogi and Hamon
Shinogi oiirenomi are beveled like mentori oiirenomi but are different in that the bevels extend all the way to the center line of the blade’s face creating a definite ridge. The thickness of the blade’s right and left edges is typically thinner than oiirenomi making it easier to get into tight corners.
I am very fond of this handy, lightweight style of oiirenomi and keep a 10pc set mounted to the inside of my toolchest’s lid.
The downside to this design is that the chisel blade loses some stiffness compared to other styles, so they are less than ideal for heavy-duty wood hogging.
Some call these ” umeki” or ” dovetail” chisels. Indeed, some blacksmiths will grind the bevels to a very thin edge for this purpose.
My blacksmiths will not create these thin edges for three reasons: First, shinogi oiirenomi are not all that rigid to being with, and thinning the sides further is inviting breakage. Second, warpage is especially difficult to control in thin cross-sections resulting in more rejects and increased costs. And third, people always cut themselves badly using chisels with sides made thin enough to actually fit dovetails. Neither my blacksmiths nor I want that responsibility.
Most umeki chisels do not have the thin sides most people expect.
If you need very thin, sharp sides, you should grind and polish the side bevels yourself. Don’t forget to keep a first-aid kit close by, one you can use with just one hand. Seriously.
Shinogi oiirenomi are available in the same widths as oiirenomi.
In the next post I will introduce an old-fashioned but still useful oiirenomi called the “kakuuchi oiirenomi.” Stay tuned.
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 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. May all my blades dull if I lie!
“Electrical tools are consumables, but handtools are as part of our bodies. Do not treat tools as just things, or as some recent invention. The shape of every tool was not decided recently, but over a long time.”
Nishioka Tsunekazu, Temple Carpenter in charge of the Horyuji and Yakshushiji Temple Restorations
There are many varieties of Japanese chisels, and most people, including Japanese, are confused by the meanings of their names, and their various applications. Your humble and obedient servant is not an historian or archaeologist, but I have been using them for over 40 years both professionally and for the fun of it and like to flatter myself I know a bit about them. Perhaps this and future posts will help de-muddle a little of the confusion.
In this first article in the series I will explain the components of Japanese woodworking chisels, and the two main categories. In later posts I will explain the various types of chisels included in these categories in some detail. But let’s begin with some language matters.
Terminology and Translation
Where a suitable English word is available, I will use them, but for the most part, I will employ the Japanese terms converted from Kanji (Chinese pictogram characters) and Hiragana (phonetic Japanese characters) to the Roman letters used in most English-speaking nations. I apologize in advance if this causes consternation, but at least it will not add to the general confusion about these tools common among English speakers.
The word for “chisel” in Japanese is “nomi” (noh/mee 鑿). The Chinese character used to write this word is complicated, so it is normally converted to the phonetic hiragana letters as “のみ.” You will notice that nomi is part of every chisel’s name, so I will use it too.
Structure and Components of Japanese Chisels
The design of Japanese chisels is a little more complicated than their Western counterparts, and for good reasons, but the basic components are generally the same. So let us examine the similarities and differences.
Traditional Japanese chisels have laminated blades with a body, neck and tang made of iron or very low-carbon steel that remains relatively soft during heat treatment.
A layer of high-carbon steel is laminated to this iron body beginning where the neck meets the flared shoulders and extending to the cutting edge. During the quenching process, this layer becomes very hard, typically 62~67 Rc versus the typical hardness of 58~60 Rc found in Western chisels. These two layers of metal are most visible at the bevel. The additional hardness of the steel layer has both advantages and disadvantages, depending on the crystalline structure of the steel after heat-treating and the skill with which the tool is used and maintained.
In the case of hand-forged (teuchi 手打) blades, this lamination is made by forge-welding the two types of metal over several heats using hammer, tongs, and anvil.
European chisels were also fabricated using this technique before the advent of mass-produced inexpensive steel. Unfortunately, this once-universal excellent technique has been all but forgotten outside of Japan.
Materials & Process
The best professional-grade chisels are made of high-quality iron and the purest plain high-carbon steel. These ancient metals are difficult to work, being very sensitive to temperature and thermal shock and tending to warp and crack badly in less than experienced hands. Many alloys and processes have been developed over the last 60 years to make tool production more profitable using unskilled labor, but for simple cutting ability and ease of sharpening, nothing rivals this combination.
The blacksmithing process involves forge-welding the two types of metal to form a laminated blade, then shaping and hand-forging over multiple heats, followed by carbon soaking and annealing, a coating of secret mud sauce after which the blade is heated to just the right temperature and subject to multiple quenches followed by multiple temperings, a process that varies from blacksmith to blacksmith with each craftsman using different formulas and procedures. Of course, warpage must be compensated for by shaping a curve in the blade that straightens out during heat treatment. Learning these skills takes years of hands-on training from a young age under the eye of a master, and decades of dedication to quality. It certainly cannot be accomplished in a mass-production situation, much less by Chinese peasants or even CNC robots.
Mass-produced consumer-grade Japanese chisel are made of pre-laminated strip steel manufactured in steel mills by either cold-rolling or hot-rolling a layer of high-carbon steel to a layer of mild-steel. This material, called ” rikizai” (利器材）or ” fukugozai” (複合材）was originally developed for mass-producing inexpensive kitchen knives as a labour-saving material to reduce manufacturing costs.
Blades made from rikizai typically perform adequately for most consumers, but many professionals seek the higher performance of so-called ” fine-grain” steel’s smaller and more uniformly-distributed carbides as found in hand-forged, expertly heat-treated blades. Those who develop the skills necessary to discern the difference between such professional-grade and consumer-grade blades, can never be satisfied with the inferior tool.
Hollow-Ground “Ura”
Kiyotada Atsunomi ura
Japanese chisel blades have a hollow-ground back (the so-called ” flat” on Western chisels) which makes the harder steel easier to sharpen and keep flat. Without this hollow-ground ura feature you would find sharpening a chisel blade of similar hardness time consuming and almost impossible to keep flat over many sharpenings.
Tang and Ferrule
Japanese chisels appears at first glance to be socket chisels, but they are definitely tang chisels with the distinct advantage over socket chisels that the blade and handle stay connected instead of separating at inconvenient times.
The handle incorporates a steel ferrule shaped like a truncated cone and called the “ kuchigane” (口金) which translates to “mouth metal.”
The Four Components of a Tatakinomi: Blade, Handle, Kuchigane, Crown
This component receives the reaction forces of hammer impacts from the blade’s shoulders converting these thrust forces acting in the handle’s long axis to compression forces acting on the handle’s end thereby preventing splitting and locking the tang tightly into the handle. It is a subtle but clever and effective design that combines the best features of both tang chisels and socket chisels without any of the downsides.
The Crown
The “Keima” Chess Piece
Chisels intended to be struck with a steel hammer have a sturdy steel hoop called a ” katsura” installed at the handle’s end to prevent the wood from splitting. The characters used for this word include 冠, pronounced “kan” or “ kanmuri” meaning “crown” or 桂 meaning Judas Tree or “ knight” （桂馬）as in the chess piece. The word Katsura can also mean “ wig” a term that does not quite work in this case because chisel handles are as bald as I am. I have the bad habit of anthropomorphizing my tools. They hate that, so to avoid giving further offense (they sometimes bite, donchano), I prefer to translate katsura as the more elegant word “crown” instead of the more constrictive word “hoop,” or follically-challenged word “wig.”
Just in case you aren’t entirely confused, please note that this same steel hoop is also called a ”sagariwa” (下り輪) which translates to ”drop hoop, ” a term that is accurately descriptive because, over many years of hammer blows, the handle gradually shortens and the hoop “drops,” shifting its position down the handle.
The crown is made of relatively soft but still strong mild steel. In use, it will occasionally be struck by a steel hammer. This choice of material is not based on economics or convenience but on the practical reality that the face of a steel hammer impacting the edge of a hardened steel hoop would get dinged and even deform after enough hits.
But this creates another problem, namely that the crown may eventually become deformed by hammer strikes unless preventative measures are taken. This is not a trivial cosmetic matter because the hoop’s edge may deform to the point it curls back inside itself. Then, if the user continues to beat on the chisel, the hoop will gouge and eventually split the handle.
Damaged Crown and Handle
The best way to avoid this grief is to use a hammer with a flat instead of convex face and to properly setup the chisel when new. For instructions on doing this, please see my earlier post about Setting-up Japanese Chisels.
Another downside to the crown and steel hammer arrangement is that the end of Japanese tatakinoni are far from smooth and can be uncomfortable to use when paring. The solution to this is three-fold. First, setup the crown properly and chamfer and smooth its edges. Second, avoid hitting the crown with hammer so it doesn’t become rough and gnarly. And finally, use a tsukinomi chisel for paring. Life is good.
Handle Materials
Chisel handles can be made of a variety of woods, but strong hardwoods such as oak are commonly fitted to chisels designed to be motivated with hammers.
Chisels not intended to be struck with a hammer can be fitted with more brittle but decorative wooden handles such as ebony or rosewood.
The Two Categories: Tatakinomi and Tsukinomi
Tsukinomi
There are two primary categories of Japanese chisels. I think these same categories apply to other traditions, but in the difference is especially clear-cut in Japan.
The first category is the “tsukinomi “ (突き鑿). Tsuki means “to push,” so tsukinomi refers to push, or paring, chisels. Standard widths range from 1.5mm to 48mm. Handle lengths and materials vary with the type of tsukinomi, the intended purpose, and personal preferences.
A Kiyotada mentori usunomi
Tsukinomi are pushed by hand and sometimes by shoulder in the case of the large ootsukinomi, known in the West as “slicks.” Most tsukinomi have relatively longer, more slender and elegant necks. They incorporate the same kuchigane ferrule at the blade end of the handle, but do not have a steel crown hoop reinforcing the opposite end.
48mm Mitsuura Ootsukinomi Paring Chisel
By definition these chisels are not intended to ever be struck with a hammer. Even if the handle does not split, their more slender necks will not endure impact forces gracefully. More often than not they are used to clean and pare to final tolerances joints cut using other chisels.
The second main category of Japanese chisel is called the “tatakinomi” (叩き鑿）meaning “striking chisel.” This is the style of Japanese chisel best known outside Japan. Stronger and tougher than tsukinomi, they are intended to be struck with a steel hammer. More details can be found at this Article
42mm Atsunomi Ura – Sukemaru (300mm (11.8″) Overall Length)
Wooden mallets are not typically used with Japanese chisels. The logic for this practice is simple: A steel hammer is the smallest, lightest, and most energy-efficient way to motivate a chisel. The physics of this are self-evident. Accordingly, the logic behind the tatakinomi design is that, since it must efficiently remove lots of wood, and a steel hammer is the most efficient way to transmit kinetic energy produced by the user to a chisel, the tatakinomi’s handle must be designed and made strong enough to endure being struck by a steel hammer from sunrise to sunset. A simple calculus.
200 Monme Kosaburo Gennou (938gm, 33oz) Black Persimmon Handle
By contrast, Western chisels with their inherently fragile handles require users to baby them with relatively soft, energy-wasting, un-aerodynamic, big-ass mallets, an illogical and inefficient practice. But to each his own.
Some people stubbornly insist on using mallets to strike their Japanese tatakinomi too. They are perhaps like the country bumpkin that bought a newfangled chainsaw from a hardware store in town to cut firewood only to take it back to the store the next day complaining it was slower and more work than his old axe and handsaw. The puzzled hardware store owner checked the fuel and spark plug, but found no obvious problems. With a perplexed look he yanked the starter rope. The chainsaw’s motor started right up with a roar and a cloud of smoke. The shocked customer almost jumped out of his overalls in wide-eyed surprise, screeching “ what the hell’s that racket!?!”
According to the Takenaka Carpentry Tools Museum located in Kobe, there are 9 varieties of tatakinomi. The most popular by far is the oiirenomi. We carry several varieties of oiirenomi including mentori,shinogi, kakuuchi, and HSS mentori oiirenomi. Another popular style is the larger, stronger heavy-duty atsunomi, preferred by timber framers. And when we can get them, mukomachinomi.
In Part 2 of this series we will describe some of these beginning with the “Mentori Oiirenomi.”
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 grow an extra arm from my forehead.
f set up and maintained properly, the blades of quality chisels and planes will endure many decades of hard daily use. In this article your most humble and obedient servant will describe a useful tool Beloved Customer can make yourself, one that will not only make maintenance easier and more efficient, but will make your tools perform better and last longer.
Historical Precedence
Versions of the oilpot have been used in all nations since ancient times. Indeed, we know from the archaeological record that tallow, simply rendered animal fat, was commonly placed in open grease pots to use as a tool lubricant in Europe and America from pre-Roman times right up until petroleum products, including petroleum-based waxes, became widely available in the 1920’s. I am told that the black crust found on many antique plane bodies (wood planes not airplanes) and workbenches is a remnant of this tallow oxidized, hardened, and combined with dirt.
Indeed, I can recall my father, uncles, and grandfather using sticks of paraffin caning wax for the exact same purpose when I was a child, and before that my English ancestors probably used candle stubs of tallow or beeswax.
Vegetable oil was more commonly used in Asia, and probably in Europe as well.
I haven’t tried soft tallow as a lubricant and probably never will since rancid fat has even less appeal to me than rancid vegetable oil, but I’m confident you will find the solution described below a serious improvement over these ancient methods.
Corrosion Protection
It’s a sad truth that the blades of woodworking tools often receive more damage while they are waiting to be used than when they are actually being used. Thankfully, neglectful corrosion of the sort that creates microscopic pits at the cutting edge can be easily avoided.
When not in use, store your chisels and planes where they will be protected from dings, dust and large temperature swings. And oil your blades after every use to keep away oxygen, moisture, and chemicals that might persuade your expensive blades to “turn red and go away.”
A convenient way to apply good oil to your blades is to use an oilpot, or aburatsubo (ah/boo/rah/tsu/boh 油壺) as it is called in Japan, similar to the one in the photo above. This is an effective, inexpensive, and time-proven tool for this purpose, certainly better than bottles or spray cans.
Friction Reduction
Oil pots are useful not only for keeping corrosion at bay, they also help minimize the friction your chisels, saws, planes, and knives generate when cutting wood, as well as the energy you need to expend in cutting. By using an oilpot to reduce friction as your blade cuts wood, that same wood, and especially the “hairy” fibers that project into the kerf, will not deflect the blade away from your intended line of cut as easily, noticeably increasing the precision of your work. Do you doubt me? Give it a try and prepared to be pleasantly surprised
Making the Essential Oilpot
In Japan, an oilpot is traditionally made by cutting a joint of well-dried, large-diameter bamboo into a cup 3 to 4 inches deep. If you don’t have access to bamboo where you live, a hollowed-out piece of some close-grained wood suitable for making water-tight barrels, such as white oak, or a plastic mug, or even a segment of capped PVC pipe will work just as well. The important thing is that the container not be made of metal, glass, ceramic or any other material approaching the hardness of a chisel blade.
Shape the bottom or foot of the cup so it will rest on a more-or-less flat surface with a few irregularities. Some people scallop the bottom so it rests on only three or four spots at the foot’s perimeter thereby making it more stable on irregular surfaces. And a piece of sandpaper glued to the bottom of the container will prevent your planes from dragging it around when you pass their soles over the wick.
If you use bamboo or wood, be sure to prime and paint both the inside of the cup, and underside of the foot, with a high-solids urethane or polyurethane paint. I used a natural urethane extracted from the cashew tree called “Cashew” on the bamboo joint in these photos. The gaudy orange color makes it easy to differentiate my oilpot from others on a jobsite
If you make your oilpot from bamboo or wood, after painting it be sure to line the inside of the cup with an unbroken sheet of aluminum foil to prevent the oil from soaking through. The paint alone will slow down the oil’s movement through the wood’s fibers, but sure as hogs are made of bacon, without an impermeable liner of some sort, it will eventually seep out making a mess. An aluminum foil liner will fix this.
Next you will need some clean, white, cotton T-shirt fabric. Used clothing is fine. White because you want to be able to tell how dirty the fabric is at any time. T-shirt fabric because it’s knitted, not woven, and sheds the least fibers. Clean because pixies hate it. If you don’t believe me, just ask them.
Roll the cloth up very tightly into a wick just a hair smaller in diameter than the inside of your container and bind it tightly with string or thread. You should be able to force this dense cloth wick tightly into the cup with approximately ½” projecting above the lip. It must be a tight enough fit to prevent the wick from falling or pulling out accidentally, but not so tight it breaks the container. It will take several tries to judge just the right amount of fabric, so be patient and keep at it until you get it right.
Add Oil
Now that the oilpot is made and wick installed you need to add some oil. Just soak the cloth wick with your favorite lubricant and you’ll be ready to rock-n’-roll like Zeppelin. It will take some time for the oil to saturate the dense wick, so be patient or it may overflow without saturating the wick. I get impatient and spill a little oil sometimes (ツ).
In Japan, I was taught to use vegetable oil and change the wick when it became rancid, which it always did. But I recommend Beloved Customer be smarter than I was back in the days when dinosaurs roamed the earth and use a non-organic oil from the start. Stinky wicks are not only unpleasant, but more importantly, rancid oil does not protect steel at all.
Some people prefer to use straight mineral oil or scented furniture oil, which is just perfumed, industrial-grade mineral oil. The lemony smell of furniture oil is nice. But please avoid any furniture polishes or oils that contain insidious silicon because it will weaken glue bonds.
Please also especially be careful to avoid linseed oil. A wick loaded with such oil is inviting spontaneous combustion, a dangerous inconvenience in a woodshop.
Some people prefer to use camellia oil, an organic product with a long history of usage as a lubricant, cosmetic and hair oil in Japan. But beware that the so-called camellia oil available commercially for rust protection is actually just mineral oil with a bit of yellow dye and some fragrance added, sold at an inflated price, much like commercial furniture oil. Caveat emptor, baby.
Mineral oil is a petroleum distillate sold as lubricant laxative in pharmacies. It’s not only cheaper than the fake “tsubaki abura” sold as tool oil, but is higher quality and performs better than genuine camellia oil because it will not become rancid and gummy.
While it sounds strange, the best lubricant by far in my experience is a lightweight, light-colored 100% synthetic motor oil such as Mobile-1 (5W). I have tried regular motor oil too, but the synthetic variety smells better, lasts longer and seems to perform better. And while I like to flatter myself that I am a “high-volume guy,” my chisels never get hot enough nor rev high enough to justify the zinc, organic sulfur, or chlorine compounds added to high-performance motor oils. Your mileage my differ. (ツ)
Oilpot Storage
Store your oilpot in a metal or plastic container with a lid when not in use to prevent abrasive dust from contaminating it. Some people make a container from a segment of PVC pipe with a flat end-cap glued on one end to form the bottom of their oil pot and place a domed cap on the other end as a lid. I use a tin can with a slip-on lid to store my bamboo oilpot.
Place a pad of newspaper in the bottom of your container to absorb loose oil and cushion the pot from rattling around.
Even a plastic bag will do until you find something better.
Using the Essential Oilpot
This is the most important part of this article.
When you are cutting a mortise with your chisel, make it a habit to occasionally jab its cutting edge into the oil pot, and even wipe the sides and ura (flat) on the wick to lubricate the blade. You will be pleasantly surprised to find that this bit of oil will make your chisel work not only go faster, but more precisely and with cleaner results. The oil will not weaken glue bonds, so long as it does not contain silicon, I promise.
Likewise, when using a handplane, occasionally swipe its sole over your oil pot’s wick. This little bit of oil will greatly reduce friction, reduce wear on your planes’ soles, and give you more control. But, if you value your public dignity, be forewarned that the first few cuts you make after doing this will make you grin like a lunatic! (ツ)
The same benefits of reduced friction and increased precision can be found in the case of handsaws too, although the difference may not be as noticeable.
Before you store your tools away for the day, a dab of oil from your ever-present oil pot will prevent rust and frustrate corrosive pixies.
Maintaining the Essential Oilpot
During use, the cloth wick will naturally become frazzled, coated with sawdust and wood chips, and will discolor accordingly. No problemo.
If, heaven forfend, you drop the oilpot and it hits the ground, Murphy’s Law of Buttered Toast dictates it will land oily-cloth down contaminating it with abrasive grit (unless you work in a cleanroom). If ignored, frikin Murphy will smugly use your oilpot to damage your tools and ruin your work. But never fear: simply brush the wick vigorously with a steel-wire brush and all the sawdust, wood chips, dust, grit and pixie golf balls will be gone. The sound you will hear while doing this will be Murphy gnashing his teeth in frustration.
Of course you always have a steel-wire brush close at hand to remove embedded grit from boards before planing them, right?
When the wick becomes too dirty for the steel wire brush to clean (difficult to imagine though that may be) you can either cut off a few millimeters to expose uncontaminated cloth, or replace the cloth wick to present a clean surface.
As the cloth wears, the wick will shorten and stop projecting from the oilpot’s mouth. When this happens, simply remove the wick and place some clean rags in the bottom to elevate it thereby restoring the necessary projection of the wick.
The oilpot is an ancient, dirt-cheap tool you will find to be an invaluable addition to your woodworking tool kit. I promise it will make you grin when using handplanes!
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 in the form located further below labeled “Leave a Reply.” We aren’t evil Google, fascist facebook, or a Director of the CIA and so won’t sell, share, or profitably “misplace” your information. If I lie may ticks, fleas and biting flies be my only friends.
A 48mm Oiirenomi chisel by the Yamazaki brothers (RIP) under the brandname Hidari no Ichihiro, one of Japan’s most famous and excellent chisel blacksmiths
Introduction
This article contains information for the Beloved Customers of C&S Tools to reference when setting up their new chisels.
All of C&S Tools’s chisels are professional-grade, hand-forged tools intended for the professionals among our Beloved Customers that will use them to make products for their customers, and require excellent lifetime service of their tools under daily working conditions.
By publishing these instructions C&S Tools is not suggesting our chisels are incomplete or require work by the purchaser before they can be used. To the contrary, our chisels are entirely usable and will provide fine service when new as-is without performing the procedures described below. Indeed the condition in which we supply them is standard for tools sold in Japan, where they were handmade.
Some may find these procedures to be too heavy a burden of time and effort. If, Beloved Customer, you don’t require professional levels of performance and durability, then there is no need to bother with these setup procedures. But please don’t tell anyone that we at C&S Tools agree with the abuse of chisels through amateurish techniques like kigoroshi, or soaking handles in water, or micro-bevels, or using grinders. BS is piled so widely, deeply, and fragrantly on the internet that there is no need to add more.
It is certain that these setup procedures will ensure your chisel’s handles will endure hundreds of thousands of hammer blows and provide trouble-free service for many decades. They may also help your chisels perform more efficiently. And they will protect your warranty. The choice is yours.
Which Chisels Require Setup?
There are several general categories and many types of Japanese chisels. Your humble servant will delve into this subject in greater detail in future posts, but the two general classifications are Tatakinomi (叩鑿）meaning “striking chisel,” which are designed to be motivated with a steel hammer to cut larger quantities of wood, and Tsukinomi (突き鑿), which translates directly to “thrusting chisel,” the equivalent of “paring chisel” in the Western tradition, and are designed to be pushed by hand for paring operations. The setup measures described herein are not entirely irrelevant, but are normally unnecessary for tsukinomi or other paring chisels.
Tatakinomi, including oirenomi (bench chisels), hantatakinomi (very similar to oiirenomi but a bit larger, probably the size the more popular oiirenomi evolved from), atsunomi (oiirenomi on steroids), and mukomachinomi (mortise chisels) are the focus of this post.
Why Should I Setup My Chisels?
C&S chisels are professional-grade tools, not mass-produced, consumer-grade, chisel-shaped Chinese screwdrivers. They will serve you best if you treat them in a professional manner, including performing proper setup.
In fact, Japanese tatakinomi chisels are designed and manufactured assuming the end user will perform some setup work before using them in accordance with Japanese tradition. It was not that long ago that craftsmen in Japan purchased chisels as components and made the handles themselves. Accordingly, until fairly recently the tradition has been for the competent craftsman to not “purchase” but rather “make” his tools to his own preferences, or at least those of his master. Even today chisels and handplanes purchased from retailers in Japan are mostly usable when brand new, but still require some modifications and tuning by the end user to achieve their potential, even though most customers are unaware of this fact nowadays. In this case, Beloved Customer, that is your job.
Performing these setup procedures will probably help your chisels perform a little better and will absolutely ensure the handles last longer. And by avoiding the slow deformation resulting from heavy usage over many years that often creeps in when proper setup is neglected, you will preserve your reputation as a professional woodworker in the eyes of other professionals.
The Example
The example chisel we will use in this article and pictured below is a variety of tatakinomi called an Atsunomi.
It was forged by a famous Japanese blacksmith named Shimamura Kosaburo (RIP) who used the brand Kiyotada, written 清忠, meaning “pure and faithful.” A founding member of the Tokyo Chisel Guild, during his lifetime Mr. Shimamura was lauded by experts in the fields of blacksmithing and metallurgy as the finest chisel blacksmith in Japan. Although my experience is limited, I agree with their assessment.
Kiyotada Brand Atsunomi Chisel in brand-new unused condition prior to setup
The Purpose of these Procedures
Unlike western chisels, the wooden handles of Japanese tatakinomi chisels are designed to be struck with a steel hammer. These impact forces tend to cause the handle to mushroom and even split, but the crown or hoop (called the “katsura” or “sagariwa” in Japanese) installed at the far end of the handle combined with the coned ferrule (called “kuchigane” in Japanese) installed at the blade end of the handle contain and compresses the wood fibers preventing this damage. Even then, the impact forces of steel hammers do crush and break fibers at the handle’s end such that over decades of hard use the handle will gradually become shorter.
In order for the crown to continue to protect the handle from splitting as the handle becomes shorter, it must be able to travel down the handle in tiny increments without gouging and/or splitting the handle. A primary goal of these procedures is to ensure the crown can move without damaging the handle.
Occasionally your steel hammer may strike the end of the handle a bit off-center impacting the mild-steel crown. After this occurs a few thousand times the crown may mushroom preventing it from traveling smoothly down the handle without gouging it. Another goal of these procedures, therefore, is to prevent, or at least minimize, this deformation of the crown thereby avoiding damage to both handle and hammer. Of course, if Beloved Customer notices such deformation developing in one of his faithful chisel’s crowns, please use a file to refresh/increase the crown’s chamfer before it gets excessive.
The kuchigane mentioned above is a truncated metal cone or ferrule that fits between the handle and blade. Written 口金 in Chinese characters (which translates to “mouth metal” ) this bit of mild steel is key to the handle design of Japanese chisels because it serves to keep the hammer’s impulse forces from splitting the handle by compressing the tapered end of the handle against the tang under great pressure. And when installed properly it also improves the flow of impact forces from a steel handle to the cutting edge while at the same time minimizing unpleasant harmonic vibrations. This is a genius-level design feature critical to the wooden handle’s durability.
But if the fit between the kuchigane, the blade’s tang, and the wooden handle is a bit off, strange harmonics may develop causing skittish behavior. Also, if the fit between handle and kuchigane permits the kuchigane to ride-up and dig into the handle after many hammer strikes the handle will become gouged and weakened.
Therefore two additional goals of these procedures are (1) to ensure the handle, ferrule and tang fit properly to provide efficient transfer of impact forces acting on the blade; and (2) to ensure the kuchigane will not damage the handle during the hard work to which professionals routinely subject their chisels.
The following pictures show what these measures will help avoid.
Split HandleMushroomed Crown and Handle Crack
A mushroomed crown and resulting damage to the handle. A crown exhibiting this type of deformation ends up dancing around loose on the handle without protect it from splitting. Indeed, if not remedied, the crown itself may eventually gouge and even split the handle
Tools and Materials Needed for Performing Setup
Masking tape
Fine point marking pen or ball pen
Sharp knife for cutting wood
Sharp knife or de-burring tool for de-burring and chamfering mild steel (an inexpensive kiridashi kogatana with an edge sharpened to 45 degrees shaves metal faster and cleaner than a file)
Rat-tail file or chainsaw file (can also be used for deburring)
Flat mill file
Pliers
Block of hardwood for driving off crowns
Wet/Dry sandpaper (220, 320, 600 grit)
Satin varnish or polyurethane and thinner
Gas stove or propane torch (optional; outdoors use)
Silk cloth (optional)
Disassembly
Mark Orientation of Handle to Blade
Step 1: Safety first. You will need all your fingers for this process, and sticky red stuff on everything is unsightly, so please tape some cardboard around the cutting edge to ensure your digits remain firmly attached to your hands.
Step 2: Mark the blade’s orientation on handle. Place a mark or arrow on the end of the handle in line with the flat of the blade to help you reassemble the handle in the same orientation. If you are setting-up multiple chisels at the same time, write the blade width or other designation on the handle’s end to avoid confusion later.
Step 3: Separate the blade from handle. If the process of removing the crown did not loosen the blade, hold the blade in one hand and strike the kuchigane against the corner of a wooden workbench or block of wood. The best locations to strike the kuchigane are at points in line with the corners of the square tang, as seen in the photos of the bare tang below. Notice how the tang’s flats are aligned with the top and bottom of the blade.
Strike each corner twice, then shift the point of impact 90° and repeat. The goal is to gradually rattle the handle off the blade’s tang, so don’t be shy. If the blade and handle still refuse to separate, expand the kuchigane and shrink the wood using a heat gun or by placing the kuchigane nearly (but not quite) touching a hot incandescent light bulb for a few hours. Do not place the chisel in an oven!
Rap the Kuchigane on the edge of your workbench or a piece of wood to separate it from the handle and tang. You can see the gap at the top of the kuchigane where it is beginning to separate from the handle. Be persuasive!
Step 4: Remove the crown (hoop). Now that the blade and handle are separated, grip a block of hardwood tight against the handle in one hand, with one end butting up against the crown, and strike the opposite end of the block with a hammer. Work the block around the crown and repeat until the crown comes off.
Remove the Crown
A view of the end of the handle where the crown was previously installed. Notice the compression lines produced in the wood when the crown was first installed. The inside of the hoop needs to be cleaned up and the end chamfered to prevent the hoop from gouging the handle, obviously, but this sort of tight fit is desirable.
Step 5: Disassemble the handle and kuchigane. If you are setting-up multiple chisels at the same time be sure to mark/label each chisel’s components to ensure they can be matched for reassembly. I usually write the blade’s width on the handle’s end with a marking pen and scratch it inside the kuchigane and crown with a pointed scribe.
The Chisel’s Four Component Parts
True the Tang and Shoulder
Step 6: True the Tang and Shoulder: The tang and neck/shoulder should meet at a clean 90° angle, however a slight filet is acceptable. The shoulder should be clean and flat. If necessary, true it up carefully with a flat file, but be careful to only true the shoulder without filing gouges into the tang. Also, use the file to remove burrs and gross irregularities on the tang as necessary. Please remember that the tang will always be hidden, so please don’t weaken it by trying to file it to perfection.
The tang before cleanupThe tang after cleanup
As you can see in the photo above, the tang does not need to be perfect, just free of big irregularities, burrs and sharp corners that might cause the fit between handle and tang to loosen after hard pounding,
When you are done, there should not be a pronounced gap between the shoulder and kuchigane when the chisel is assembled.
Prepare the Kuchigane(Ferrule)
Step 7: Check the Kuchigane:Check the blade end of the handle with the kuchigane in place. If it is a sloppy fit, adjust the handle using knives, files, and sandpaper as necessary.
Step 8: Flatten the End of the Kuchigane: Flatten each end of the kuchigane with a flat file without removing more material than is absolutely necessary. Be sure the ends are in planes perpendicular to the kuchigane’s centerline. I usually accomplish this by holding the kuchigane in one hand and running it back and forth over the surface of a wider file.
Kuchigane before chamfering
Step 9: Chamfer the Kuchigane: Chamfer the inside of the kuchigane’s wide end (not narrow end) with a knife or round file. Shave or file a a 45° chamfer 1/2 to 2/3 the thickness of the kuchigane’s wall on the inside corner of the kuchigane’s wide end. An inexpensive kiridashi kogatana knife or deburring tool with a blade angle of around 40 degrees will easily shave the mild steel used for crowns and kuchigane and works quicker and cleaner than a file. Please don’t cut yourself.
A stopped hole drilled into a board works well to secure parts when deburring and chamfering them. Vise grips also work well for securing crowns if you pad the jaws to keep them from gouging the parts, but such clamping tools tend to deform kuchigane, so please exercise caution.
Allow me to repeat: Be extremely careful not to cut yourself. They may be beautiful and very useful, but many chisels and knives are cold vampiric geniuses that fear neither sunshine nor spaghetti sauce and want to cut you, so beware! Hold parts in a way the blades absolutely can’t bite you no matter how hard they try. A severed tendon can be a life-changing surprise.
Kuchigane after chamfering
Step 10: Refinish the Kuchigane: If you decide to refinish the kuchigane, remove the existing chemical bluing with sandpaper at this time.
Prepare the Crown(Hoop)
The Crown Before Deburring and Chamfering
Step 11. Chamfer the Crown: Chamfer both inside corners (top and bottom edges) to a nice round 45° angle with a knife or a rat tail file. This step is very important.
The crown after chamfering. This step is critical.
Step 12. Debur the crown:Debur and clean up the crown’s inside surface. However, be careful to not remove too much metal or the crown may fit too loosely.
Deburred, Chamfered, Filed and Sanded Crown
Step 13: Clean the crown’s exterior surfaces: Lightly file and sand the crown’s exterior surfaces to remove major irregularities. However, there is little point in trying to make these surfaces perfectly smooth since they will get banged up by hammers.
Prepare the Handle
Step 14: Check the Depth of the Tang Hole. If the hole in the handle which receives the tang is too shallow, the pointy end of the tang will bottom-out and can cause the handle to split. Measure it’s depth with piece of wire or a stick. If it is not deeper than the length of the tang, drill the hole just a tad deeper.
Step 15: Check/Adjust Blade Alignment. With the kuchigane removed, insert the tang into the handle correctly oriented, and sight down the handle. If the handle and blade do not line up properly, you may need to correct the misalignment.
To do so, first try fitting the blade to the handle in a different orientation (90˚). If this does not improve things, make thin slips of wood the width of the tang’s flat and fit one into the hole before inserting the blade. Slips made of cardstock, manila folder, or cotton typewriter paper work well too. If you feel a lot of resistance when inserting the tang, attach the kuchigane to prevent splitting.
Thinner or thicker slips can be inserted if more correction is necessary, but there is a point where too many slips will make it impossible to insert the tang without splitting the handle. In this worse case scenario, shave the hole a bit wider with a chisel or other slender piece of steel sharpened as a scraper to permit adequate shimming. Be careful to remove the absolute minimum amount of wood.
Step 16: Check/Adjust Crown Fit. It is acceptable for the crown to leave a shallow ring depression in the handle, but if the crown digs deeply into the handle, shave or sand the handle to ensure the crown will not gouge it.
The Handle’s Coned End Before Fitting. The step or shoulder turned into the handle is visible.
Step 17: Prep the Shoulder. Most chisels have a shoulder turned into the handle where the kuchigane terminates, making for a smooth, attractive transition between kuchigane and handle. This is most pronounced in chisels made in Western Japan. However, if the kuchigane butts tightly up against this shoulder, over time the force of the hammer can drive the kuchigane into this shoulder damaging the handle.
Relieving this shoulder with scallops will provide some room for smooth movement of the kuchigane over time. To do this, first mark a line around the handle where the kuchigane ends. Then remove the kuchigane.
Step 18. Place a Guide Around the Handle: Wrap a piece of paper or light cardboard 3/16″ to 1/4” above the line of the shoulder, secure it with tape, and using it as a guide, mark another line around the handle with a fine-point marking pen, ball pen, or knife. When done,remove the kuchigane and paper.
Step 19: Mark the Handle:Use a pen, pencil or marking pen to mark the cone at diagonals across the tang hole and extend these marks to the line you made in the previous step. This will leave four lines 90° apart. Now make similar marks at the flats of the tang and extend the lines. There should now be eight lines separated by 45°.
Step 20: Cut the Scallops: Wrap masking tape around the cone as shown in the picture below to protect the cone from cuts which might weaken it. With a very sharp knife or chisel, make four cuts in small increments centered on one of the lines and forming a concave scallop between the two adjacent lines. Repeat for the other four lines. These curved scallops should transition smoothly into the wooden cone, but should not cut into it. This may not be as easy to accomplish as it seems. If done properly, the scallops should appear uniform and attractive, but perfection is neither attainable nor desirable in a handmade tool. Finally, shave off the ridge between the scallops creating a total of sixteen scallops at 22.5°.
Finish the Handle
Some people prefer a handle without any finish, while others like a shiny finish.
Hand sweat tends to react with the tannic acid in Japanese White Oak handles turning them a dirty-looking grey. Japanese Red Oak, as in the handle in the pictures above, does not discolor as much.
Whether you refinish the handle, leave it as-is, or sand it bare is your choice. It makes no difference to the chisel’s performance.
Step 21: Sand the Handle. At this point, you can either (1) Not sand the handle (unless it is damaged), and varnish the scallops and any areas shaved at the crown end of the handle to match the existing handle finish; (2) Sand off the existing finish entirely to bare wood; or (3) Refinish the entire handle.
Step 22: Apply a Finish: This step is applicable if you decide to apply a finish to the handle. Sweat may cause Japanese White Oak, a wood commonly used for chisel handles, to discolor, so a light finish (not a thick glossy finish) is appropriate in your humble servant’s opinion. The following is the method I recommend. First, sand off any remaining finish on the handle. Apply a coat of satin varnish or polyurethane diluted 100% with thinner. Allow as much of this mixture to soak into the wood’s fibers as possible. Rub the wet varnish mixture forcibly into the wood using wet-or-dry sandpaper. Thinned varnish will penetrate further into the wood than straight varnish, and the pressure of sanding will force it deeper into the fibers than just capillary action could achieve. In addition, sanding will create a wood/varnish slurry filling the grain.
Allow this mixture of varnish and wood dust to dry without wiping it off. It will look terrible, but never fear. Repeat these steps for a second coat and allow to dry. Apply a third coat, sand lightly, and then wipe off the varnish slurry with a cloth.
When dry, the result will be a non-slip surface free of lathe marks that does not appear to have any finish, but that will protect the wood from sweat and moisture. If a little bit of visible surface finish is desired, a final single coat of thinned varnish can be applied. To ensure the previously cut scallops remain nice and crisp, do not sand them.
Warning: Do NOT apply finish to the crown end of the handle because the finish will make the wood fibers too stiff to deform properly. If you want to go the extra mile, a bit of melted paraffin wax or beeswax allowed to soak into the end of the handle will protect it from water and make it more resilient over time than just bare wood.
Finish the Kuchigane and Katsura
This is an optional cosmetic step, but will make your chisel more attractive. There are several ways of finishing the metal of the kuchigane and crown:
Heat Bluing: Simply heat the kuchigane and crown on a stove until it is blue-black. Do not heat the blade! This is an ancient steel-finishing technique, indeed one routinely used to colorize plate armor in medieval times. Not very durable, but it looks cool.
Oil Black: Coat the metal with motor or transmission oil and heat it until the oil is burnt off. This method makes a lot of stinky smoke, so don’t do it indoors. Fairly durable. Do not heat the blade!
Gun Blue (chemical bluing): Brownells’ cold blue formula works well. Birchwood Casey also makes a convenient chemical bluing product. Looks nice, but not very durable.
Rust Blue or Rust Black: These are classic, beautiful steel finishes that are much more durable than chemical or heat bluing. However, the process requires dangerous chemicals, a fine-bristle stainless-steel brush and time. A description of the process is not possible here.
Burnt Silk Finish: This is one of my favorite finishing methods because it is quick and easy and looks good. Simply heat the metal parts over a flame, and using pliers so you don’t burn yourself of course, wipe the metal in a wad of scrap silk. An old silk necktie works fine. The silk protein will char, coating the metal with a carbon finish with an interesting texture. Wipe the metal quickly but thoroughly to prevent globs of melted silk from sticking to the metal. Don’t do this inside the house because the smoke will set off the smoke alarm and the stink will endure for weeks. SWMBO will not be pleased. Do not heat the blade!
Reassemble the Chisel
If this is a new chisel, it may be convenient to true the blade’s ura and sharpen it before final assembly. These tasks are a little easier with the handle removed.
Step 23: Install the Crown: To begin assembly, hold the handle in the air by one hand and drive on the crown using a wooden, plastic or rawhide mallet, not a steel hammer. You should always remove your wrist watch before wacking chisels if you want it to keep working. A word to the wise.
There is a specialty tool for this job, essentially a steel cone that fits over the crown, which you strike with a hammer. If you enjoy spending money on heavy tools that take up space and are seldom-used, then you must have one. But a hammer works just as well and can do many more tasks.
Once the crown is flush with the handle, angle the handle and strike the crown with your wooden mallet or steel hammer at an angle driving it further onto the handle. You only need to be drive it down far enough so the top of the crown is below the end of the handle by 1/16”. More is wasteful. Then strike the edges of the handle projecting beyond the crown at an angle with a steel hammer to lightly mushroom over the corners of the handle securing the crown in place. Do not soak the handle in water, for Pete’s sake!
Soaking the handle in water prior to fitting the crown is a method preferred by handlemakers and wholesalers that fit hundreds of crowns a day. They will soak 50 handles at a time in a shallow pan of water to soften the ends making it easier to mushroom. Convenient for them, but bad for the chisel because the water will also cause the wood to swell, and when it later dries and shrinks, the crown may become loose over time. Your handle deserves better.
Step 24: Install the Kuchigane: Fit the kuchigane to the handle lightly and insert the blade’s tang oriented according to the marks you made previously. Tap the end of the handle to lightly seat the blade, but allow enough room so the kuchigane can be rotated by hand. Rotate the kuchigane to minimize any gaps between it and blade’s shoulder.
If you see any big gaps, lightly file the kuchigane to match the blade’s shoulder.
If any part of the handle projects past the kuchigane’s mouth, carefully shave it off with a sharp knife.
Step 25. Seat the Blade: With both crown and kuchigane now installed on the handle, finish seating the blade by holding the chisel by the handle in the air and striking the end squarely with a mallet or hammer until it seats tightly. Don’t cut yourself!
Voila!
Step 26. Final Check and Adjustment of Kuchigane to Shoulder Fit: Now that the chisel is assembled, there is one last check to make. The fit between the blade’s shoulder and the narrow end of the kuchigane need not be perfect (perfection is unattainable for mere mortals) but it does need to be fairly uniform because most of the impulse energy from the hammer flows through this tiny interface. Therefore, if there is a big gap, or if half the kuchigane on one side, for instance, is not contacting the shoulder, the flow of impact forces will not be smooth and the chisel will feel “skittish.” Examine this fit for gaps and irregularities, and correct them by filing the kuchigane. You will need to loosen the blade and handle enough to insert a small file, but you don’t necessarily need to completely disassemble the chisel.
Congratulations! Your chisel is now setup for professional use.
Use the Right Hammer
When cutting wood with a tatakinomi, please use a hammer with a flat face, such as a Japanese gennou, to strike your chisel. A hammer with a domed or convex face, as are almost all hammers sold outside Japan nowadays, may damage the chisel’s handle after enough strikes. Ergonomics aside, a ball peen hammer or claw hammer with its face ground flat will work just as well as a Japanese hardware-store gennou.
And while we are on the subject of hammer faces, I recommend you smooth and even polish your hammer face so it will strike cleaner and reduce the wear on your chisel handles, counterintuitive as that may seem. Slipping will not be a problem, trust me.
I encourage you to select a hammer weight that balances well with the weight and blade width of your chisel, the type of wood and type of cutting you plan to do, and your body and style of work. This decision will make a difference in the precision and speed of your work, the energy you expend, and the stress on your joints.
The standard range of weights for gennou hammers for carpentry work in Japan is 100mome to 120monme (375gm (13oz) to 450gm (16oz), perfect for driving nails, general carpentry work, and motivating atsunomi. However, many find a lighter-weight head, perhaps in the neighborhood of 60~80 monme ( 236gm (8.3 oz) to 300gm (11 oz)), works better with smaller chisels, such as oiirenomi, for furniture and joinery work.
I also encourage you to make a handle for your hammer that suits your body and style of work.
This article is already too long so I won’t go into details, but suffice it to say that commercial hammer handles are a one-size-fits-nobody design that confuses the hand, is non-aerodynamic (I bet you never thought about air-drag in relation to hammer handles), transmits excess vibration to your joints, and ignores obvious ergonomics causing the head to impact the chisel off-center and out-of-kilter. There is a better way, and you will love the results.
We will dive head-first down that rabbit hole, screaming like a banshee on fire, in future posts!
Kosaburo Gennou Head and Black Persimmon Handle
Rust Prevention & Storage
If set up properly, a quality set of Japanese chisels will endure decades of hard daily use with no maintenance beyond oiling and sharpening.
You should store your chisels where they will be protected from weather, water, sudden temperature changes, dust, fly-specs, spilled beer, and paint overspray. Convenient though it may be to store chisels in an exposed rack or bare on a shelf, unless your workshop is a temperature and humidity controlled cleanroom, or you use chisels stored this way nearly everyday and clean and oil them frequently, such storage methods are guaranteed to reduce their useful lifespan and will waste your sharpening efforts and sharpening stones sure as eggses is eggses.
I recommend you make a wooden chisel box with a lid to store your chisels. I am preparing an article on how to design and make a chisel box, and will post it on the blog when it is ready.
After every use, oil the blade to prevent rust. An aburatsubo or oilpot is a critical accessory for chisels, and is easily made. You can find details here.
A Final Note
Since we wrote this tutorial ten years or so ago, we have frequently received questions from Beloved Customers and Gentle Readers about the fact that the chisel setup procedures described herein differ in important ways from those taught by most retailers of Japanese tools in the USA and Europe, as well as those expounded in videos on NoobTube, or posted on the woodworking internet forums.
This Final Note is intended to dispel confusion among Beloved Customers and Gentle Readers on these points.
The Question
So why is are the techniques presented in this tutorial so different from those found online?
When asked this question, your humble and obedient servant is often tempted to respond that the questioner should perform the “Big Spoon Quality Test.” This QC technique involves taking a big, heaping spoonful of the online advice in question, then holding one’s nose and swallowing it down, yes, all the way down, …. keep swallowing now, no don’t upchuck, and afterwards deciding for oneself if it is fragrant wisdom or stinky BS. As the saying goes: “the proof is in the pudding,” or was it “laughter is the best medicine?” I forget.
In any case, while such a hasty reply would be hilariously entertaining, it would also be crude. Fortunately, your humble servant is nothing if not exquisitely refined, so I will instead try to provide a more detailed and tasteful explanation below instead.
The Long Answer
Yes, Virginia, we have seen the various online videos about setting-up Japanese chisels. The creators of most of them are simply parroting instructions that some long-gone employee of a wholesaler, probably some soft-handed office worker who had never used a chisel professionally, heard from another guy working at a chisel factory assembling hundreds of chisels everyday as quickly as possible from cheap parts, some of which may have been imported from China.
Some of Gentle Reader are now saying to yourselves: “Wait just one frickin minute there! What do you mean, “made in China!?” Please take a deep breath, smell the napalm, and realize that too many of the components assembled into products in advanced countries are actually made in China at low cost. Poor quality is the natural consequence of procurement policies intended to maximize profits, all other considerations be damned. The components used in C&S Tools’s chisels, however, are all made in Japan of quality materials and to reasonable tolerances.
Here’s the problem: Imagine a chisel handle and/or crown manufactured to such careless tolerances that one must beat the heck out of the handle with a hammer (kigoroshi) crushing the wood’s cells to reduce the handle’s diameter enough so the poorly-matched crown or ferrule will fit.
Now ask yourself two questions: (1) How difficult can it be to control the tolerances of wooden handles and mild steel rings? And (2) will permanently crushing the hardwood handle’s cells improve its durability and/or longevity?
Or imagine, if you possibly can (difficult, we know), a handle and its crown or ferrule so poorly matched that one must swell the wood with water to get the crown or ferrule to stay attached long enough to ship the chisel overseas. Is your mind not boggled yet?
Do you think such poor manufacturing tolerances or either of these ham-handed techniques make for a better chisel, one that will provide good long-term service in the real world? Sadly, this is the grade of chisel with which the PooTube “Creators” and the so-called “experts” on the slimy orc-infested woodworking forums have hands-on experience.
The manufacturers of these shoddy tools provide zero warranties. Their products disappear into overseas markets where consumers are accustomed to being deceived as a matter of course, and the quality of most of their competitor’s products in the local markets, essentially sharpened Chinese-made screwdrivers, are of even poorer quality, so there is no backlash, only profits.
If any of this sounds to you like proper quality control or good value for the consumer, then there’s some swamp land located next to an abandoned chrome plating plant in North Korea, shovel-ready for resort development, that’s for sale at an amazingly low price. We read about it on an internet forum, so it must be true. All you have to do is send US$3,000 in small unmarked bills via FedEx to a private P.O. Box in Abuja, Nigeria belonging to Prince Musa Adebayo. It’s a limited time offer, so you’d better hurry ( ͡° ͜ʖ ͡°)
Most of our Beloved Customers are not new to Japanese tools. They have bought the sizzle before, found the flavor revolting, and came to us for real bacon. They want honest handmade tools that meet the rigorous demands of advanced Japanese professional woodworkers. That is what C&S Tools routinely delivers.
The Short Answer
Let’s wrap this up by concisely answering the original question.
First, we promote different chisel setup techniques because the tools our Beloved Customers need to setup are different from those with which the “Creators” on Gooble’s SpewTube and the trolls on the internet forums are accustomed. They are made by true craftsmen, not unskilled factory workers using Chinese components.
Our craftsmen are Japanese gentlemen living and working in Japan using crowns, ferrules, and handles made by them to reasonable tolerances, attached to the highest-quality hand-forged blades, also made by real Japanese blacksmiths working in their own smithies. Kigoroshi and water soaks are not necessary to setup these chisels, and will in fact harm them.
Second, because our Beloved Customers selected C&S Tools, we assume they are more advanced woodworkers than the easily-deceived amateurs that typically buy the hardware store-grade mass-produced chisels commonly available outside Japan, and therefore actually want to do initial setup in accordance with the highest standards, not the lowest. It’s their choice, of course, but it would be unimaginably irresponsible of your humble servant to advocate lesser techniques just to match the posers on GuberLube.
And third, unlike the wholesalers and distributors that peddle hardware store-grade tools overseas at inflated prices, we take our warranty seriously, and therefore actually care about the performance and longevity of the tools we sell. We need our Beloved Customers to set them up properly using the advanced techniques we promote because we have a reputation to protect and a direct financial interest in customer satisfaction.
Five Potential Solutions
We hope this explanation clears up the original question. In addition, the following list describes five solutions to the other problems we touched on above. Sorry, but you’re on your own with Prince Musa’s real estate deal:
Purchase only high-quality tools made to reasonable tolerances from quality materials by genuine professional craftsmen and blacksmiths that have long-term relationships and reputations that might be damaged by shoddy quality, not mass-production factories filled with low-wage workers.
Buy chisels and other edged handtools only from retailers (like C&S Tools) that both offer and honor a full international warranty on materials and workmanship, one that doesn’t require you to expend additional funds to benefit from. Good luck finding anyone else;
Beware the posers on Yoogle’s GoobTube (or is it Toogle’s YoobGube? We forget) who profit financially from spinning a pound of BS into 7 click-bait-filled minutes of visual entertainment, all without any responsibility for the accuracy, completeness or honesty of their representations;
Beware the howls of the pustulous trolls and the chittering of the execrable orcs scuttling about in the fetid darkness of the internet woodworking forums;
And last but not least, always remember the most reliable litmus test for veracity: “Money Talks and BS Walks” (see point 2 listed above).
Or, you can always try the big spoon test described above, for after all is said and done, bitter lessons stick best (ツ).
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.
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