Oh boy, where to start? Perhaps I’d better start with the second part of the question. The stone is reinforced with hand-printed chiyogami paper and then lacquered with cashew lacquer. The cross-hatch of paper fibres is especially strong when lacquered. It is a traditional stone fortifying method though, traditionally, the choice of paper is a bit more prosaic and plain than hand-printed chiyogami. I find it pretty and don’t think it detracts from a stone that doesn’t offer as much beauty via visible layers etc on the side. Though I realise it’s not for everyone and there are some stones I’d never contemplate doing that with such as the layered Nakayama earlier on the thread. It’s a fine line between respectful modification/adornment and what we’ll call “Masha-ing”. I might have to have a longer think to give a proper answer to the first question as edge work is almost an afterthought - a layer of hygiene that occurs adjacent to the real reason I buy stones.. Kasumi polishing. It’s when I’m polishing that the real detective work of matching what the core and cladding will do on a given stone becomes a thing and there are as many outcomes as there are mathematical combinations of knives and different stones in different sequences.So what knives/etc. do you use each of the stones for, and what did you use to lacquer (?) the Narutaki?