Badgertooth
Senior Member
- Joined
- Nov 5, 2015
- Messages
- 2,664
- Reaction score
- 655
It seems it's suita week on the forum and I've been fielding questions about them and reading some great reviews and opinions on them, thank you Smash and all who contribute.
It prompted me to dig out mine. A lot of sentimental value is attached to it as it's the stone that sent me down the rabbit hole...
My very first jnat.
I am eternally grateful to Watanabe for his hand-holding through the process, it was a scary amount of money to spend on a leap into the unknown. But what a leap it was.
Here is a closeup of the intense renge patterning running through this stone. Each time I use and observe it, I take something else away from the subtle interplay of colour and pattern. Last night the the Kan ripples were what I noticed.
I recently acquired a Kurouchi Kato gyuto. This is important because I'm usually pretty gung ho about what I chuck at a stone. I have no sacred cows but I really wanted to think on the first stone that I'd use on this Kato as it arrived with the best edge and polish I've ever seen. Ohira mania this week reminded of that I had just the number wrapped and ready in a patterned tenugui cloth
This stone cuts like almost no other finisher I can think of. This is from a standing start with no nagura or diamond lapping.
The steel sings on this stone. Member Omega got me to thinking. He posed the question, "How would you replicate a Kato edge?" And I hope it's ok that I partially answer an aspect of it here. I might never be able to replicate the finesse that comes from training and years of experience as a swordsmith. But I could pay his skill homage by putting it to the right stone with the right mindfulness and technique. When it needs more than a touch up on a finisher I'll put it on a Chosera 1k or a JNS 1k for a really accurate crisp bevel. Then a harder Aoto for pre-polishing and scratch removal. Then an Aizu. Then this bad boy.
A little summin summin I had fun making.
https://youtu.be/zzmNDualpBQ
It prompted me to dig out mine. A lot of sentimental value is attached to it as it's the stone that sent me down the rabbit hole...
My very first jnat.
I am eternally grateful to Watanabe for his hand-holding through the process, it was a scary amount of money to spend on a leap into the unknown. But what a leap it was.
Here is a closeup of the intense renge patterning running through this stone. Each time I use and observe it, I take something else away from the subtle interplay of colour and pattern. Last night the the Kan ripples were what I noticed.
I recently acquired a Kurouchi Kato gyuto. This is important because I'm usually pretty gung ho about what I chuck at a stone. I have no sacred cows but I really wanted to think on the first stone that I'd use on this Kato as it arrived with the best edge and polish I've ever seen. Ohira mania this week reminded of that I had just the number wrapped and ready in a patterned tenugui cloth
This stone cuts like almost no other finisher I can think of. This is from a standing start with no nagura or diamond lapping.
The steel sings on this stone. Member Omega got me to thinking. He posed the question, "How would you replicate a Kato edge?" And I hope it's ok that I partially answer an aspect of it here. I might never be able to replicate the finesse that comes from training and years of experience as a swordsmith. But I could pay his skill homage by putting it to the right stone with the right mindfulness and technique. When it needs more than a touch up on a finisher I'll put it on a Chosera 1k or a JNS 1k for a really accurate crisp bevel. Then a harder Aoto for pre-polishing and scratch removal. Then an Aizu. Then this bad boy.
A little summin summin I had fun making.
https://youtu.be/zzmNDualpBQ
