August 11, 2024 • 36 mins
In this podcast, I have a general discussion about the evolution of my sharpening of tools.
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link to all my content, including the free Roman workbench ebook and plans.
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https://www.amazon.co.uk/shop/...
I value everyone's beliefs, and knowledge, so feel free to leave a comment.
I also appreciate all feedback, Even bad feedback, just make it constructive.
link to all my content, including the free Roman workbench ebook and plans.
https://linktr.ee/DW_woodworks
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
In today's podcast, I'm going to be talking a little
bit about shopling, more specifically chisels and playing blades pretty much.
There is other stuff I'm not going to get into
the day, but primarily that's what I'm going to be
talking about the day. So my setup as it stands
(00:24):
is diamond plates, although I do have Japanese water stones
and I have just started using them a bit more
than I usually do. That's primarily because I did purchase
some Japanese chisels and I am starting to use wherever
(00:44):
it is my kind of blade or kind of playing
a little bit more so. The basic setup that I've
got is extra course, course, medium and fine. If you
look closely, you'll be able to say this is the
(01:05):
same set up as Paul Cellars. When I first started sharpening,
I started exactly the same way as Paul cell As recommends,
or at least he used to recommend. I don't know
if he's changed it in recent times, but the way
I used to recommend was pretty much that's you would
(01:25):
be doing a sweep a sweeping motion. So what you're
doing is you're actually you are creating a convex. So
typically what a lot of people do with using grinding stones,
not grinding stones, grinding wheels. Sorry, you are creating a concave.
(01:50):
So basically a concave because of the shape of the
grinding wheel will be like so if you're watching and
the way Paul's shows is again it's in a sweep
of emotion, so you create a belly or or a convex.
(02:10):
And from me knowledge, this has been used in England
for quite some time. It's quick, it's easy. The only
the only problem with this, or at least the problem
I had when I was starting out, was that I
was pulling the chisel too high up well, not not
(02:32):
so much the chiselup boats. I did actually deal with
this with me number four Bailey Patton playing and over
the period of however long it took, I can't quite
remember how long it took, it went from being like well,
you know, like over the moon with it to not
(02:53):
taking a shaven at all. So I did actually send
an emal to post Sealers, and post Sellers kindly replied,
I'm not sure what was Paul or maybe one of
his team, but whoever it was that did that did
actually send us a reply and what it said straight
away is that because the way the way I've been
(03:16):
shortened in, it's most likely that I've actually started to
put a heel. So I'm going to try and demonstrate
what I mean. Yeah, so this is a back of
a dim in place, and because I put shortened it,
it too great of an angle. I don't you probably
(03:36):
kind of say that on camera. I'm exaggerating the angle
as well here, but basically you're creating too much of
a heel or a belly, and the the top of
the of the arc if you like, or the convex
or all the belly was making contact with the workpiece
(04:01):
and the cutting edge wasn't the same. Again, is because
I was creating too much of an angle while I
was pulling it back. So I realized I was doing that. Well,
I didn't realize I was doing that. Obviously, Paul or
one of his team, you know, kind of enlightened us
on that. So once I was enlightened with that, obviously
(04:26):
began to correct it. So because I was having trouble
kind of stopping myself from coming too high, you know,
like working out, you know, a decent angle, what I
started to do was turn it. Maybe I don't know.
(04:47):
Forty five degrees to the length of the plate the
diamond player that is. And I started going back wising forwards.
But as I was going backwards and forwards, I would
change the angle. So you know, when I've got to
a nice angle, you know, I could kind of because
(05:11):
it's at the angle what it is, it's at like
forty five degrees, I've got a better sight of what's
you know, what the angle is. So if I was
anywhere like, oh yeah, well that's too much, or downyard too,
it's kind of total. But as I was doing it,
or going backwards and forwards, what I was doing is
just slowly raising it. I'm going to save you. Can
(05:37):
you hear this when I do this? Can you hear that?
Maybe you can, Maybe you can't you hear the change?
Try that again. I'm going to drop my microphones. Say
we definitely can hear it. Yell a change. So that's
(06:06):
what I started doing. I started listening out for that change.
So the change is very different when you're on the
edge to where you you kind of you know, you're
just on the working on the bevel part. So I
started doing that and that's sort of that out. But
(06:30):
the problem with this that started to present itself over
a number of however long months, however long it took,
was that because I'm sharpening in a forty five degrees,
I was putting more force on one side of me
(06:50):
chisel on me plane than I was on the other side.
So what this led to was me chisels, me planes
being out square. Now I know this chisel last is
actually pretty square. At the moment, I wonder I should
be able to show you here this is one of
(07:13):
me new planes. This is one of the Japanese planes. Now,
when I bought these, these were out the square and
he's down he broad back at the square. So you
may be able to say that on the camera, maybe
you can, maybe a con but pretty much all of
my cutting edges were looking like that, you know, just
(07:35):
slightly off. I want to say, I don't know, maybe
you know from ninety degrees, why don't we see it?
Maybe eighty eighty seven degrees type of thing. So with
the chisels, it isn't It isn't a massive deal. It
(07:55):
can it can cause problems, but it's not a massive deal. Obviously,
if you can't on going that way, it is going
to become a massive deal. However, with the plain blades,
it can become problematic, obviously because because you've got the
chip breaker that goes onto the back of the blade.
(08:17):
So obviously, when this problem presented itself, I've seen it.
I noticed it quite quite quickly, thankfully, and I still
carried on shopping in the same way. But what I
was doing was putting more pressure onto the side that
was too high. So when I was doing this, I
(08:41):
did notice it wasn't kind of making a great deal
of difference, and I was still kind of you know,
getting that you know that that eighty eight eighty seven
degrees or whatever it was. It was. It wasn't moving
type of thing. Because the idea was that over a
(09:02):
you know, a period of time, if I was applying
the pressure to the opposite side, eventually, you know, I
would bring myself back back the square. So that didn't
really happen, if I'm honest. So, because by that time
I had kind of become let's not say proficient. Let's see,
(09:27):
I'd gotten a lot better shot than you know, I
was getting consistent results. So I felt confident enough to
change from the forty five degrees to straight on off
parallel to the size or ninety degrees, and rather than
(09:48):
do what I originally started with, I still didn't feel
comfortable over that, and I still don't feel comfortable, I'm honest.
So what I stuck with was going backwards and forwards
and just very gradually raising jangle and listening out for
that change. What I demonstrated before the changing sound and
(10:12):
what that done was that it had or what it's doing.
Rather because there is still some not quite square yet,
this chidel has pretty much brought itself back in the square,
or I've brought it back into the square. So by
doing it this way, I'm able to put equal pressure
all over the blade. And I have this blade, I
(10:34):
have brought back the square, and I believe me number
four is kind of getting there was that was starting
to get pretty hard. So that's kind of what I've
been doing with the diamond plates. Obviously, I started the
extra course and I just go through the grits to
(10:56):
get to the fine. Once I finished with that, I
do just move over to a The last strop. The
last drop has some buff and compound on it. I
want to say coronium oxide. I believe it's called. This
is actually available if you want to go and check
(11:18):
it out. I've got it in one of the Amazon
affiliate links. If you just click on tools I used
as there's like a couple of lists of hand tools
if you're interested. It doesn't cost you anything, and it
does help the channel out if you want to help
the channel out. That is, so I moved to this.
This is bad. I've had this for years now, so
(11:44):
see them again. I'll just apply pressure and this can
be anywhere from twenty to forty depending on how I'm
feeling strokes. So I'll go with the bevel and then
I'll go to the flat of the chisel, all the
plain blade and just pull it. When I am doing this,
(12:09):
what's I like to do? And I think this is
good practice and maybe good practice to wear gloves, but
I don't wear gloves. So what I like to do.
I'm holding it in my right hand, and with my
right hand I like to push into my left hand,
So I'm always pushing with my right hand into my
(12:31):
left hand, you know, with with the chisel and with
my left hand, I'm able to exert pressure downward force
onto the last strop. And what this enables us to
do is to pick up a lot of speed me
wear bench is actually on the wheels at the moment
like both like so so as I said, that can
(13:03):
be anywhere from twenty to forty. And just in case
there's any burr left, because that's the whole process off
shorten and creating a bur then removing the bur I'll
just running through the corner. I'm being posha because normally
which just used me work and just how I am.
(13:23):
So that is the bog standard sharpening for me. And
I shot in all of me chisels minus the Japanese
chisels and the Japanese kind of I shot in all
of my Western planes, my route a plane show that
(13:45):
plane spokeshave things like that. Pretty much all the Western
stuff gets shorten on here. Something to note about these
timing plates is that they will not last year forever.
(14:06):
Some people will tell you the will last you forever,
the last year for a lifetime. They will not last
you for a lifetime. The reason for this is because
over a period of time you will change the grids
on these. So this fine this is no longer a fine.
(14:30):
This is probably close that they were an extra extra
fine or an extra fine, whatever the grad may be.
It's also the same as the extra course. This extra
course is no longer an extra course now, well the
extra course it is very predominant that you can feel this.
(14:54):
So when I'm moving my fingers along the majority of
the diamond plates, I can't feel the the grade of it.
It's it is pretty, you know, pretty the same all
the way across until I get to the ends, especially
(15:16):
this end, So the grid or the grade is very different.
And the reason is very different is because when you're
using your chisel, or at least me, I don't go
closely he is because it's easy to slip off, and
you know that's how accidents happening. It's the same when
you come to the back, it's very easy, especially if
(15:37):
you know you're prying a lot of pressure, easy for
you to come off. It's like down and if your
fingers are there, you know you're going to have you know,
your finger tips missing. So that's why I like the
steer away from the edges of these. So, as I said,
it's very predominant on the extra course, not so predominant
(15:59):
on you, you know ones as you move down the grit,
so the way you can still feel it a little bit,
even even to a degree with the you know, the
fine you can't feel it very slightly. So obviously the
more I use these, the you know, the higher the
gradient's going to go. You know, so this like extra course, sorry,
(16:24):
this extra fine. I'm not totally sure what it's going
to be now, you know, this is kind of going
to be what I don't know, Maybe I'm guessing here
maybe eight thousands, you know, wasn't that when I first
got it? I don't think so, but you can you
can see where I'm going with this. So obviously, the
(16:46):
more you use it, you know, it's they're just gonna
continue to move down and down and down and down
to the point where, you know, any any cutting of
the diamond is going to be minimal because you've you've
you know, you've kind of used it up. So you
will not get a lifetime out of these, especially if
you started younger like I have. Obviously I would I
(17:10):
would hazard a guess by the time I'm what, I'm
forty three now, So by the time I'm let's say,
I don't know, fifty to fifty five, maybe sixty, I'll
most definitely have another set of these. Most definitely. I
am actually thinking about going out and getting another set
of these. As it is, you're still cutting. But as
(17:34):
I said, the grits are getting higher and higher, so
it means, you know, they're not so close at this
end anymore, which in turn means that depending on the
severity of the shop man, I don't know, maybe I've
took a you know, a nick off the corner. I've
damaged to corner, or there's a nick you know, in
the middle of the blade and I've got to you know,
(17:56):
work that out, so it would be easier just to
use the grinding wheel. But I haven't got a grinding wheel,
you know. I may look into something like that in
the future, who knows, or some sort of you know,
some other sort of shortening machines that there is kicking about,
because there is, like, you know, a number of machines
(18:17):
kicking about, so that might be something I do look at.
But going back to you know, the grades. At the moment,
this is this is my shortening set up, and obviously
I've got the wet stones and that's it. So I
don't want to be spending I wasn't. I was trying
(18:38):
to get a little neck out when it can be
done with some you know, new new diamond plates that
are the grit they're supposed to pay at. So, as
I said, there will last year a long time, a lifetime.
Definitely not Maybe someone who's a little bit later on
life and have started down this as a hobby. Yeah,
(19:00):
I think you should be good most likely unless you
live to you know, like one hundred and ten hundred
and twenty, you know, fingers crossed for you guys. I
hope I'll live that long as well. Next up, I'm
going to talk a little bit about the Japanese waterstones,
and I see a little bit because there's a lot
(19:24):
I do not know about these and I've only just
started using them regularly. Let's just say it, because I've
got Japanese chisels now which I'm using regularly. So this
is it. I've only got two and this one is
(19:51):
double sided, and it is twelve thousand on one side,
which is the brown side, and on the not so
white side supposed to be white or maybe a cream
cream color. Maybe that is eight thousand, I believe. So
(20:14):
when I'm shorting them with these, I do, if it
needs it, use the bluestone. So this bluestone is I
think that's a two hundred and fifty grid, so that's
really really coarse. So, as I said, I only use
(20:36):
these with the Japanese tools. The reason I only use
them with the Japanese tools is because I'm not a
fan of the water stones. I find them, you know,
a bit of a fuff ont to use. I haven't
really got them like set up right, this is not
(20:56):
a good set up for them. If you look at
Japanese crafts people who have normally got like a half
decent setup even when they're on like a you know,
like a job site or you know, you might you
might say a Japanese crafts person at a temple or
something like that, and they've got like a lot set
up than this. And if you look at them when
they're in the you know, the workshop, they tend to
(21:19):
have like a like a like a station, like a
shopman station, and I'll have x amount of stones, you know,
for x amount of people to use it, or have
running water and so on and so forth. I've got
stones in a top of way with water, and that's
that's pretty much my setup. So as I said, I
don't typically use them for me Western just the Japanese
(21:44):
stuff that I have got The reason I use them
on the Japanese and I don't use my diamond plates
for the Japanese is that for some reason, and it
might be me, I don't I really don't think it's
maybe it could be me. The Japanese steel does not
(22:06):
like these diamond plates. It just it feels wrong, and
it just doesn't It really just doesn't go. Now. I
have tried to shot them with the diamond plates and
the steel, the Japanese steel just does not like. It
feels like, it does not like it. It feels otard
to me. As soon as I bring those Japanese chisels
(22:30):
or the plain blade to the water stones, it's totally different.
So I don't know that's because of the sludge on
the the Japanese water stones. I'm going to kind of
say it is so with these stones. One thing that
I've recently just found out is that when you're flattening
(22:54):
these So for those of you that don't know, when
you're using these stones, that don't have to be flattened.
So it's quite common to say Japanese crass. People are
using a diamond plate to take over the top of
the stones that they're using just to make sure that
(23:16):
the flat. So one of the things I found out
quite recently were watching someone and it did make a
lot of sense, is that when you're sharpening your chisel,
you should periodically as you're sharpening, be flattening the stone.
Now I didn't know this, and I've never heard of
(23:36):
it anywhere. I've never read it anywhere. I might have
just been looking in the wrong places, but I was
kind of watching this guy or all I reading the
subtitles and trying to watch him. But he was basically
saying that when you're using the water stones, you should
(23:57):
but you should be flattening them because they will go
out a flat, very very easy. And I did actually
try this out and no, and behold it. It is
very right. So when you're shortening, however long it takes,
I can't remember, but it was it was very very quick.
And I hadn't finished on this particular stone on the
(24:18):
on the brown side of the water stone. I hadn't
finished doing what I was doing with it. And I
did actually get to rule that out. I cleaned all
the sludge off, I've got to roll that out, and
I checked and it was I could say, I could
start to say it like you know, daylight through there
was starting to become a belly in the stone. So
(24:40):
with this new knowledge, when I do use these now
I make sure that periodically, you know, however many strokes,
I'll just I'll just get this and I'll just go
over the stone a few times. And I must admit
now that I do that I am getting a lot
better results with the sharpening, because when I first started
(25:03):
shortening with these, and this is another reason that I've
shied away from these for so long, is that I
wasn't particularly getting good results. So when you do use these,
you will find it is very common when you're using them,
or you see people using them, is that they will
(25:27):
go parallel to the side. So you've basically got ninety
degrees to the very end of the stone itself, and
you will see Japanese crafts people going from one side
or the other. Or if you just knew that, the
(25:48):
actually advise advice rather just a little strokes like so.
But if you are doing this, just trying to make
sure that using as much as the stone as possible,
So when you're doing this, you're going to minimize any
sort of belly that you will get in the middle
(26:10):
you're all going to get some sort of a belly
or an arc in the middle. It's just inevitable and
it will happen. So, as I said, it is quite
(26:31):
common to short and light that. So when you're short
and like that, you can say straight away that if
there is some sort of a belly in the stone,
that's going to transfer itself onto the chisel or the
kind of blade. So obviously you don't want to be
(26:53):
round and your chisels and your cannot blades off unless
you've got specific purpose for that, which I haven't with
the ease, and I don't want to do with that.
So as I said, now as I'm sharpening, I'll pull
it away and I will make sure these are ice
(27:14):
and flat. Something else to know with these, that's a
beginning I might overlook. I was fortunate enough to get
this quite early on, or role I've read about it
or I've seen it on a video, whichever it may be,
is that when you are using these and you're flattening them,
the edges will become like really really sharp. These aren't
(27:39):
too bad. So when they become sharp, I don't mean
they will become raise a sharp and you will be
able to cut your fingers very very easily on them.
Thing of this is exactly the same way is if
you are sharpening. Sharpening is if you are playing in
(27:59):
a pie of oak. Let's say it oak for instance.
So we have playing the face. So we've got a
beautiful finish on the face of the wood of a
board of oak, and we turn it on its side.
We're putting the vice or fix it to the apron,
(28:20):
and must start playing in the edge. So this face
and the edge at the ninety degrees, that's going to
be very very very sharp now, and if you were
a rugbio finger down it quite quickly and harshly, you
would most likely have to have stitches. You know. That's
(28:41):
how short wood can get. And that's why you were
us hand tool would work as most us will know this.
As we take the arrises off, so that doesn't happen.
It's the same sort of thing with these stones. The
canon will cut you. I've been fortunate enough, as I
said too, who you know not have to you know,
(29:02):
go through that because I do take the time and
I will just run the diamond plate over the edges.
It doesn't take you long to do. And that's it.
It's just nice and easy. So something I forgot to
(29:23):
mention about these is that when you're all shorten them
with these, you should create some slurry sort of sludge,
however you want to say it. So I don't actually
(29:44):
have a little stone, and for the life of it,
I can't remember the name of the stone. If you
know the name of this little stone, a little yellow
stone that I've got on my hand, do leave a
comment and let other people know because I can't remember.
So when you rubbing the stone backwards and four was
it is? Actually you guys kind of say, but it
(30:07):
is actually creating the slurry, which you need when you're shortening,
because the slurry is what does the cutting on the steel.
(30:29):
So I'm not sure if you can say that that's
kind of how fine this this This is kind of
the same effect that you would get with a let
of strop. I don't believe the letter drop the green
chromium oxide is actually a higher grade than this. This
(30:50):
is eight thousand. I'm not sure what the chrome the
chromium oxide is, but I do believe it's it's a
it's like a higher grids. It's like a buff and compound.
This does pretty much exactly the same. And when you
are using these, these do actually get really sticky. As
(31:13):
you can say, it will grab your chisel and it
will hold it. So for those of you that are
listening to this, I've actually just rubbed the backside of
the chisel against the stone. This is like an eight
thousand greats as with the slurry and everything, it's stuck now,
(31:33):
so it's basically supporting itself. The handles hanging off the edge,
and this is something to watch out for. Well, no
it didn't let us pick it up, but sometimes you
can actually pick the stones up, so you know, this
is something to watch out for because sometimes it can stick.
And then when you put a bit too much pressure,
(31:56):
you know, like a forward pressure, depend on which way
are short, man, you can't actually take a big gouge
out of the stone with the corner of the childls,
So you know, be careful when you're doing things like that.
So with us using the Japanese stones a little bit more,
or the water stones, I think I am probably going
(32:18):
to invest in maybe one or two more. I don't
think that I'm going to get perhaps ten thousands great stone,
and that's pretty much just going to act as the
same way as the let us drop does. So there
(32:42):
is other types of sharpening systems, and I have to
be honest, I haven't tried most of them. So there
is Scary Shop which is a sound paper, and I
haven't tried it. I don't think I'm going to try
it simply because what I'm led to believe in just
(33:03):
by looking at it is that you use a horning guide.
I don't like horning guides. I don't use horning glides guides.
I've never gotten on with them. Any of the shopmen
you'll ever say is doing You'll never ever see your
horning guide, because I just I don't even think I
own one. Now, if I don't own a horning guide,
(33:25):
I have absolutely no idea where it is. I mean
each each to the own. But from what I can
galla with the Scary sharp system is that you'll use
a horning guide and you pretty much just drag it
back and you'll put it back on, drag it back,
you'll lift it, drag it back, drag it, drag it,
drag it. So the thing I don't like about this
(33:47):
is that you're dragging and you're not able to push forward.
The reason you're not able to push forward. I'm guessing
is because you're going to dig into the sand paper
and you go and cut the sandpaper, which obviously you
don't want. So apparently, again I don't know this, but
(34:07):
apparently when you do Shortman with the Scary Shop system,
you're supposed to get extremely sharp results. You know, your
you're cutting edges or like ridiculously sharp scary shop but
you know that's apparently it's named appropriately. But again, if
you listen to me for any amount of time, you
(34:29):
will know I like the shot when and I just
like to get back to it. I don't you know.
And it's the same again, it's like it's each to
the own because there's a lot of people that will
spend a lot of time sharping and the tools. You know,
you've got people that'll that'll get all of the chisels
off the walls. So I don't have a lot of chisels.
(34:50):
I've got like you set the Japanese chisels and you
set the Western chisels. It's like, all in all, it's like, well,
I got there. There's five, six, seven, eight, ninety ten.
All in all, it's ten chisels, and I'll be totally
honest with you. There's no way on earth I'm going
to get the full ten chisels down and go through
all of them and short and all that. It's just
not going to happen. What I'll do, I'll use the chisel.
(35:13):
I'll pick the chisel up if it needs shortman or short.
If I'm using it, I'll use it to it until
it needs short when and then I'll short. And that's
just the way I I do exactly the same with
all me, me blade, me playing blades, whether it be
Western or Japanese. If it needs short or short and
it's if not, I'll work until it does. But having
(35:38):
said that, what I said before, each to the own,
and some people find it's really therapeutic, I particularly don't,
you know. So again it's it's each to the own.
But as I said, I like to you know, be
done and dusted and back to it. Right. I think
I'm gonna call it there for the day, guys. Let
(36:00):
us know what you're thinking in the comment, let us
know how you guys shot. And until the next time,
I shall say you and speak to you guys later. Okay,
In today's podcast, I'm going to be talking a little
bit about shopling, more specifically chisels and playing blades pretty much.
There is other stuff I'm not going to get into
the day, but primarily that's what I'm going to be
talking about the day. So my setup as it stands
(00:24):
is diamond plates, although I do have Japanese water stones
and I have just started using them a bit more
than I usually do. That's primarily because I did purchase
some Japanese chisels and I am starting to use wherever
(00:44):
it is my kind of blade or kind of playing
a little bit more so. The basic setup that I've
got is extra course, course, medium and fine. If you
look closely, you'll be able to say this is the
(01:05):
same set up as Paul Cellars. When I first started sharpening,
I started exactly the same way as Paul cell As recommends,
or at least he used to recommend. I don't know
if he's changed it in recent times, but the way
I used to recommend was pretty much that's you would
(01:25):
be doing a sweep a sweeping motion. So what you're
doing is you're actually you are creating a convex. So
typically what a lot of people do with using grinding stones,
not grinding stones, grinding wheels. Sorry, you are creating a concave.
(01:50):
So basically a concave because of the shape of the
grinding wheel will be like so if you're watching and
the way Paul's shows is again it's in a sweep
of emotion, so you create a belly or or a convex.
(02:10):
And from me knowledge, this has been used in England
for quite some time. It's quick, it's easy. The only
the only problem with this, or at least the problem
I had when I was starting out, was that I
was pulling the chisel too high up well, not not
(02:32):
so much the chiselup boats. I did actually deal with
this with me number four Bailey Patton playing and over
the period of however long it took, I can't quite
remember how long it took, it went from being like well,
you know, like over the moon with it to not
(02:53):
taking a shaven at all. So I did actually send
an emal to post Sealers, and post Sellers kindly replied,
I'm not sure what was Paul or maybe one of
his team, but whoever it was that did that did
actually send us a reply and what it said straight
away is that because the way the way I've been
(03:16):
shortened in, it's most likely that I've actually started to
put a heel. So I'm going to try and demonstrate
what I mean. Yeah, so this is a back of
a dim in place, and because I put shortened it,
it too great of an angle. I don't you probably
(03:36):
kind of say that on camera. I'm exaggerating the angle
as well here, but basically you're creating too much of
a heel or a belly, and the the top of
the of the arc if you like, or the convex
or all the belly was making contact with the workpiece
(04:01):
and the cutting edge wasn't the same. Again, is because
I was creating too much of an angle while I
was pulling it back. So I realized I was doing that. Well,
I didn't realize I was doing that. Obviously, Paul or
one of his team, you know, kind of enlightened us
on that. So once I was enlightened with that, obviously
(04:26):
began to correct it. So because I was having trouble
kind of stopping myself from coming too high, you know,
like working out, you know, a decent angle, what I
started to do was turn it. Maybe I don't know.
(04:47):
Forty five degrees to the length of the plate the
diamond player that is. And I started going back wising forwards.
But as I was going backwards and forwards, I would
change the angle. So you know, when I've got to
a nice angle, you know, I could kind of because
(05:11):
it's at the angle what it is, it's at like
forty five degrees, I've got a better sight of what's
you know, what the angle is. So if I was
anywhere like, oh yeah, well that's too much, or downyard too,
it's kind of total. But as I was doing it,
or going backwards and forwards, what I was doing is
just slowly raising it. I'm going to save you. Can
(05:37):
you hear this when I do this? Can you hear that?
Maybe you can, Maybe you can't you hear the change?
Try that again. I'm going to drop my microphones. Say
we definitely can hear it. Yell a change. So that's
(06:06):
what I started doing. I started listening out for that change.
So the change is very different when you're on the
edge to where you you kind of you know, you're
just on the working on the bevel part. So I
started doing that and that's sort of that out. But
(06:30):
the problem with this that started to present itself over
a number of however long months, however long it took,
was that because I'm sharpening in a forty five degrees,
I was putting more force on one side of me
(06:50):
chisel on me plane than I was on the other side.
So what this led to was me chisels, me planes
being out square. Now I know this chisel last is
actually pretty square. At the moment, I wonder I should
be able to show you here this is one of
(07:13):
me new planes. This is one of the Japanese planes. Now,
when I bought these, these were out the square and
he's down he broad back at the square. So you
may be able to say that on the camera, maybe
you can, maybe a con but pretty much all of
my cutting edges were looking like that, you know, just
(07:35):
slightly off. I want to say, I don't know, maybe
you know from ninety degrees, why don't we see it?
Maybe eighty eighty seven degrees type of thing. So with
the chisels, it isn't It isn't a massive deal. It
(07:55):
can it can cause problems, but it's not a massive deal. Obviously,
if you can't on going that way, it is going
to become a massive deal. However, with the plain blades,
it can become problematic, obviously because because you've got the
chip breaker that goes onto the back of the blade.
(08:17):
So obviously, when this problem presented itself, I've seen it.
I noticed it quite quite quickly, thankfully, and I still
carried on shopping in the same way. But what I
was doing was putting more pressure onto the side that
was too high. So when I was doing this, I
(08:41):
did notice it wasn't kind of making a great deal
of difference, and I was still kind of you know,
getting that you know that that eighty eight eighty seven
degrees or whatever it was. It was. It wasn't moving
type of thing. Because the idea was that over a
(09:02):
you know, a period of time, if I was applying
the pressure to the opposite side, eventually, you know, I
would bring myself back back the square. So that didn't
really happen, if I'm honest. So, because by that time
I had kind of become let's not say proficient. Let's see,
(09:27):
I'd gotten a lot better shot than you know, I
was getting consistent results. So I felt confident enough to
change from the forty five degrees to straight on off
parallel to the size or ninety degrees, and rather than
(09:48):
do what I originally started with, I still didn't feel
comfortable over that, and I still don't feel comfortable, I'm honest.
So what I stuck with was going backwards and forwards
and just very gradually raising jangle and listening out for
that change. What I demonstrated before the changing sound and
(10:12):
what that done was that it had or what it's doing.
Rather because there is still some not quite square yet,
this chidel has pretty much brought itself back in the square,
or I've brought it back into the square. So by
doing it this way, I'm able to put equal pressure
all over the blade. And I have this blade, I
(10:34):
have brought back the square, and I believe me number
four is kind of getting there was that was starting
to get pretty hard. So that's kind of what I've
been doing with the diamond plates. Obviously, I started the
extra course and I just go through the grits to
(10:56):
get to the fine. Once I finished with that, I
do just move over to a The last strop. The
last drop has some buff and compound on it. I
want to say coronium oxide. I believe it's called. This
is actually available if you want to go and check
(11:18):
it out. I've got it in one of the Amazon
affiliate links. If you just click on tools I used
as there's like a couple of lists of hand tools
if you're interested. It doesn't cost you anything, and it
does help the channel out if you want to help
the channel out. That is, so I moved to this.
This is bad. I've had this for years now, so
(11:44):
see them again. I'll just apply pressure and this can
be anywhere from twenty to forty depending on how I'm
feeling strokes. So I'll go with the bevel and then
I'll go to the flat of the chisel, all the
plain blade and just pull it. When I am doing this,
(12:09):
what's I like to do? And I think this is
good practice and maybe good practice to wear gloves, but
I don't wear gloves. So what I like to do.
I'm holding it in my right hand, and with my
right hand I like to push into my left hand,
So I'm always pushing with my right hand into my
(12:31):
left hand, you know, with with the chisel and with
my left hand, I'm able to exert pressure downward force
onto the last strop. And what this enables us to
do is to pick up a lot of speed me
wear bench is actually on the wheels at the moment
like both like so so as I said, that can
(13:03):
be anywhere from twenty to forty. And just in case
there's any burr left, because that's the whole process off
shorten and creating a bur then removing the bur I'll
just running through the corner. I'm being posha because normally
which just used me work and just how I am.
(13:23):
So that is the bog standard sharpening for me. And
I shot in all of me chisels minus the Japanese
chisels and the Japanese kind of I shot in all
of my Western planes, my route a plane show that
(13:45):
plane spokeshave things like that. Pretty much all the Western
stuff gets shorten on here. Something to note about these
timing plates is that they will not last year forever.
(14:06):
Some people will tell you the will last you forever,
the last year for a lifetime. They will not last
you for a lifetime. The reason for this is because
over a period of time you will change the grids
on these. So this fine this is no longer a fine.
(14:30):
This is probably close that they were an extra extra
fine or an extra fine, whatever the grad may be.
It's also the same as the extra course. This extra
course is no longer an extra course now, well the
extra course it is very predominant that you can feel this.
(14:54):
So when I'm moving my fingers along the majority of
the diamond plates, I can't feel the the grade of it.
It's it is pretty, you know, pretty the same all
the way across until I get to the ends, especially
(15:16):
this end, So the grid or the grade is very different.
And the reason is very different is because when you're
using your chisel, or at least me, I don't go
closely he is because it's easy to slip off, and
you know that's how accidents happening. It's the same when
you come to the back, it's very easy, especially if
(15:37):
you know you're prying a lot of pressure, easy for
you to come off. It's like down and if your
fingers are there, you know you're going to have you know,
your finger tips missing. So that's why I like the
steer away from the edges of these. So, as I said,
it's very predominant on the extra course, not so predominant
(15:59):
on you, you know ones as you move down the grit,
so the way you can still feel it a little bit,
even even to a degree with the you know, the
fine you can't feel it very slightly. So obviously the
more I use these, the you know, the higher the
gradient's going to go. You know, so this like extra course, sorry,
(16:24):
this extra fine. I'm not totally sure what it's going
to be now, you know, this is kind of going
to be what I don't know, Maybe I'm guessing here
maybe eight thousands, you know, wasn't that when I first
got it? I don't think so, but you can you
can see where I'm going with this. So obviously, the
(16:46):
more you use it, you know, it's they're just gonna
continue to move down and down and down and down
to the point where, you know, any any cutting of
the diamond is going to be minimal because you've you've
you know, you've kind of used it up. So you
will not get a lifetime out of these, especially if
you started younger like I have. Obviously I would I
(17:10):
would hazard a guess by the time I'm what, I'm
forty three now, So by the time I'm let's say,
I don't know, fifty to fifty five, maybe sixty, I'll
most definitely have another set of these. Most definitely. I
am actually thinking about going out and getting another set
of these. As it is, you're still cutting. But as
(17:34):
I said, the grits are getting higher and higher, so
it means, you know, they're not so close at this
end anymore, which in turn means that depending on the
severity of the shop man, I don't know, maybe I've
took a you know, a nick off the corner. I've
damaged to corner, or there's a nick you know, in
the middle of the blade and I've got to you know,
(17:56):
work that out, so it would be easier just to
use the grinding wheel. But I haven't got a grinding wheel,
you know. I may look into something like that in
the future, who knows, or some sort of you know,
some other sort of shortening machines that there is kicking about,
because there is, like, you know, a number of machines
(18:17):
kicking about, so that might be something I do look at.
But going back to you know, the grades. At the moment,
this is this is my shortening set up, and obviously
I've got the wet stones and that's it. So I
don't want to be spending I wasn't. I was trying
(18:38):
to get a little neck out when it can be
done with some you know, new new diamond plates that
are the grit they're supposed to pay at. So, as
I said, there will last year a long time, a lifetime.
Definitely not Maybe someone who's a little bit later on
life and have started down this as a hobby. Yeah,
(19:00):
I think you should be good most likely unless you
live to you know, like one hundred and ten hundred
and twenty, you know, fingers crossed for you guys. I
hope I'll live that long as well. Next up, I'm
going to talk a little bit about the Japanese waterstones,
and I see a little bit because there's a lot
(19:24):
I do not know about these and I've only just
started using them regularly. Let's just say it, because I've
got Japanese chisels now which I'm using regularly. So this
is it. I've only got two and this one is
(19:51):
double sided, and it is twelve thousand on one side,
which is the brown side, and on the not so
white side supposed to be white or maybe a cream
cream color. Maybe that is eight thousand, I believe. So
(20:14):
when I'm shorting them with these, I do, if it
needs it, use the bluestone. So this bluestone is I
think that's a two hundred and fifty grid, so that's
really really coarse. So, as I said, I only use
(20:36):
these with the Japanese tools. The reason I only use
them with the Japanese tools is because I'm not a
fan of the water stones. I find them, you know,
a bit of a fuff ont to use. I haven't
really got them like set up right, this is not
(20:56):
a good set up for them. If you look at
Japanese crafts people who have normally got like a half
decent setup even when they're on like a you know,
like a job site or you know, you might you
might say a Japanese crafts person at a temple or
something like that, and they've got like a lot set
up than this. And if you look at them when
they're in the you know, the workshop, they tend to
(21:19):
have like a like a like a station, like a
shopman station, and I'll have x amount of stones, you know,
for x amount of people to use it, or have
running water and so on and so forth. I've got
stones in a top of way with water, and that's
that's pretty much my setup. So as I said, I
don't typically use them for me Western just the Japanese
(21:44):
stuff that I have got The reason I use them
on the Japanese and I don't use my diamond plates
for the Japanese is that for some reason, and it
might be me, I don't I really don't think it's
maybe it could be me. The Japanese steel does not
(22:06):
like these diamond plates. It just it feels wrong, and
it just doesn't It really just doesn't go. Now. I
have tried to shot them with the diamond plates and
the steel, the Japanese steel just does not like. It
feels like, it does not like it. It feels otard
to me. As soon as I bring those Japanese chisels
(22:30):
or the plain blade to the water stones, it's totally different.
So I don't know that's because of the sludge on
the the Japanese water stones. I'm going to kind of
say it is so with these stones. One thing that
I've recently just found out is that when you're flattening
(22:54):
these So for those of you that don't know, when
you're using these stones, that don't have to be flattened.
So it's quite common to say Japanese crass. People are
using a diamond plate to take over the top of
the stones that they're using just to make sure that
(23:16):
the flat. So one of the things I found out
quite recently were watching someone and it did make a
lot of sense, is that when you're sharpening your chisel,
you should periodically as you're sharpening, be flattening the stone.
Now I didn't know this, and I've never heard of
(23:36):
it anywhere. I've never read it anywhere. I might have
just been looking in the wrong places, but I was
kind of watching this guy or all I reading the
subtitles and trying to watch him. But he was basically
saying that when you're using the water stones, you should
(23:57):
but you should be flattening them because they will go
out a flat, very very easy. And I did actually
try this out and no, and behold it. It is
very right. So when you're shortening, however long it takes,
I can't remember, but it was it was very very quick.
And I hadn't finished on this particular stone on the
(24:18):
on the brown side of the water stone. I hadn't
finished doing what I was doing with it. And I
did actually get to rule that out. I cleaned all
the sludge off, I've got to roll that out, and
I checked and it was I could say, I could
start to say it like you know, daylight through there
was starting to become a belly in the stone. So
(24:40):
with this new knowledge, when I do use these now
I make sure that periodically, you know, however many strokes,
I'll just I'll just get this and I'll just go
over the stone a few times. And I must admit
now that I do that I am getting a lot
better results with the sharpening, because when I first started
(25:03):
shortening with these, and this is another reason that I've
shied away from these for so long, is that I
wasn't particularly getting good results. So when you do use these,
you will find it is very common when you're using them,
or you see people using them, is that they will
(25:27):
go parallel to the side. So you've basically got ninety
degrees to the very end of the stone itself, and
you will see Japanese crafts people going from one side
or the other. Or if you just knew that, the
(25:48):
actually advise advice rather just a little strokes like so.
But if you are doing this, just trying to make
sure that using as much as the stone as possible,
So when you're doing this, you're going to minimize any
sort of belly that you will get in the middle
(26:10):
you're all going to get some sort of a belly
or an arc in the middle. It's just inevitable and
it will happen. So, as I said, it is quite
(26:31):
common to short and light that. So when you're short
and like that, you can say straight away that if
there is some sort of a belly in the stone,
that's going to transfer itself onto the chisel or the
kind of blade. So obviously you don't want to be
(26:53):
round and your chisels and your cannot blades off unless
you've got specific purpose for that, which I haven't with
the ease, and I don't want to do with that.
So as I said, now as I'm sharpening, I'll pull
it away and I will make sure these are ice
(27:14):
and flat. Something else to know with these, that's a
beginning I might overlook. I was fortunate enough to get
this quite early on, or role I've read about it
or I've seen it on a video, whichever it may be,
is that when you are using these and you're flattening them,
the edges will become like really really sharp. These aren't
(27:39):
too bad. So when they become sharp, I don't mean
they will become raise a sharp and you will be
able to cut your fingers very very easily on them.
Thing of this is exactly the same way is if
you are sharpening. Sharpening is if you are playing in
(27:59):
a pie of oak. Let's say it oak for instance.
So we have playing the face. So we've got a
beautiful finish on the face of the wood of a
board of oak, and we turn it on its side.
We're putting the vice or fix it to the apron,
(28:20):
and must start playing in the edge. So this face
and the edge at the ninety degrees, that's going to
be very very very sharp now, and if you were
a rugbio finger down it quite quickly and harshly, you
would most likely have to have stitches. You know. That's
(28:41):
how short wood can get. And that's why you were
us hand tool would work as most us will know this.
As we take the arrises off, so that doesn't happen.
It's the same sort of thing with these stones. The
canon will cut you. I've been fortunate enough, as I
said too, who you know not have to you know,
(29:02):
go through that because I do take the time and
I will just run the diamond plate over the edges.
It doesn't take you long to do. And that's it.
It's just nice and easy. So something I forgot to
(29:23):
mention about these is that when you're all shorten them
with these, you should create some slurry sort of sludge,
however you want to say it. So I don't actually
(29:44):
have a little stone, and for the life of it,
I can't remember the name of the stone. If you
know the name of this little stone, a little yellow
stone that I've got on my hand, do leave a
comment and let other people know because I can't remember.
So when you rubbing the stone backwards and four was
it is? Actually you guys kind of say, but it
(30:07):
is actually creating the slurry, which you need when you're shortening,
because the slurry is what does the cutting on the steel.
(30:29):
So I'm not sure if you can say that that's
kind of how fine this this This is kind of
the same effect that you would get with a let
of strop. I don't believe the letter drop the green
chromium oxide is actually a higher grade than this. This
(30:50):
is eight thousand. I'm not sure what the chrome the
chromium oxide is, but I do believe it's it's a
it's like a higher grids. It's like a buff and compound.
This does pretty much exactly the same. And when you
are using these, these do actually get really sticky. As
(31:13):
you can say, it will grab your chisel and it
will hold it. So for those of you that are
listening to this, I've actually just rubbed the backside of
the chisel against the stone. This is like an eight
thousand greats as with the slurry and everything, it's stuck now,
(31:33):
so it's basically supporting itself. The handles hanging off the edge,
and this is something to watch out for. Well, no
it didn't let us pick it up, but sometimes you
can actually pick the stones up, so you know, this
is something to watch out for because sometimes it can stick.
And then when you put a bit too much pressure,
(31:56):
you know, like a forward pressure, depend on which way
are short, man, you can't actually take a big gouge
out of the stone with the corner of the childls,
So you know, be careful when you're doing things like that.
So with us using the Japanese stones a little bit more,
or the water stones, I think I am probably going
(32:18):
to invest in maybe one or two more. I don't
think that I'm going to get perhaps ten thousands great stone,
and that's pretty much just going to act as the
same way as the let us drop does. So there
(32:42):
is other types of sharpening systems, and I have to
be honest, I haven't tried most of them. So there
is Scary Shop which is a sound paper, and I
haven't tried it. I don't think I'm going to try
it simply because what I'm led to believe in just
(33:03):
by looking at it is that you use a horning guide.
I don't like horning guides. I don't use horning glides guides.
I've never gotten on with them. Any of the shopmen
you'll ever say is doing You'll never ever see your
horning guide, because I just I don't even think I
own one. Now, if I don't own a horning guide,
(33:25):
I have absolutely no idea where it is. I mean
each each to the own. But from what I can
galla with the Scary sharp system is that you'll use
a horning guide and you pretty much just drag it
back and you'll put it back on, drag it back,
you'll lift it, drag it back, drag it, drag it,
drag it. So the thing I don't like about this
(33:47):
is that you're dragging and you're not able to push forward.
The reason you're not able to push forward. I'm guessing
is because you're going to dig into the sand paper
and you go and cut the sandpaper, which obviously you
don't want. So apparently, again I don't know this, but
(34:07):
apparently when you do Shortman with the Scary Shop system,
you're supposed to get extremely sharp results. You know, your
you're cutting edges or like ridiculously sharp scary shop but
you know that's apparently it's named appropriately. But again, if
you listen to me for any amount of time, you
(34:29):
will know I like the shot when and I just
like to get back to it. I don't you know.
And it's the same again, it's like it's each to
the own because there's a lot of people that will
spend a lot of time sharping and the tools. You know,
you've got people that'll that'll get all of the chisels
off the walls. So I don't have a lot of chisels.
(34:50):
I've got like you set the Japanese chisels and you
set the Western chisels. It's like, all in all, it's like, well,
I got there. There's five, six, seven, eight, ninety ten.
All in all, it's ten chisels, and I'll be totally
honest with you. There's no way on earth I'm going
to get the full ten chisels down and go through
all of them and short and all that. It's just
not going to happen. What I'll do, I'll use the chisel.
(35:13):
I'll pick the chisel up if it needs shortman or short.
If I'm using it, I'll use it to it until
it needs short when and then I'll short. And that's
just the way I I do exactly the same with
all me, me blade, me playing blades, whether it be
Western or Japanese. If it needs short or short and
it's if not, I'll work until it does. But having
(35:38):
said that, what I said before, each to the own,
and some people find it's really therapeutic, I particularly don't,
you know. So again it's it's each to the own.
But as I said, I like to you know, be
done and dusted and back to it. Right. I think
I'm gonna call it there for the day, guys. Let
(36:00):
us know what you're thinking in the comment, let us
know how you guys shot. And until the next time,
I shall say you and speak to you guys later. Okay,
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