Japanese sword polishing

Shitaji togi sets the geometry of the blade and encompasses all main stages; utilizing large waterstones of increasingly finer grit. The sword is first inspected for straightness: If it isn't straight for whatever reasons, the duty of correcting it falls to the polisher. Straightening usually involves using wooden jigs to correct any bends in the blade. From this point on, a polisher works to form and grind surfaces and geometry as needed; note that these stages are also where damage is repaired through careful reshaping. The relatively small point area of the blade, the kissaki, is distinct enough that it must be worked on by dividing the polishing among smaller subregions. Any present hi (fullers) are also polished but not with the large main stones, instead a variety of methods are used including smaller-sized stones, a migaki-bo (hardened-steel burnishing needle) or even fine-grit sandpaper.

Artificial waterstones are nowadays used for the foundation polishing stage, but almost never used for finishing, as they will produce inferior results compared to natural stones.

Shiage togi is the stage that places the mirrorlike finish on a blade; the most notable differences between this and the previous stage are that the stones are of considerably smaller size, and that the blade remains stationary, instead having the abrasives and tools moved over it. In this stage, a blade is painstakingly worked on section by section, using wafer-thin slices cut from the main stones. After this is done, the blade's look will still be slightly unbalanced, and is corrected with a special nugui mixture that adjusts it. This stage is also where the yokote line is brought out; it may be either artificial or following the existing line (more often than not however, they are usually lost during a prior polishing stage). The final major step involves fully burnishing the rear and sides.

The finishing process brings out and enhances all details of a blade so that they are readily visible for observation and analysis, which entails results that must be free of any visual imperfections.

Nakago with mekugi-ana hole (right)(blade, left, and habaki, center) in unpolished state

The nakago is traditionally not polished and only partially finished with file marks, before being allowed to oxidize naturally. The file marks are to provide a friction-fit for the tsuka. The division line between the file markings and the highly polished blade are the machi and two ledges, the ha machi (blade junction – edge side), and the mune machi (blade junction – spine side), around which the fitted habaki is clasped.[2]

The hadori style is named after the hadori stone used, a waterstone selected for its slightly greater coarseness which helps lighten the hamon and make it stand out against surrounding areas. The hadori style cannot exactly replicate the hamon as the finishing is actually a trace of the original; thus its quality depends mainly on the nature of the hamon itself, available equipment and the skill of the polisher. This process is relatively new, having been developed in the past century.

The sashikomi nugui style is named after the nugui mixture used to produce the final effect. First, the entire hamon is run over by a hazuya stone, a process which also is done to the jihada as well. Next a jizuya stone is used to bring out the hada or grain of the blade. Sashikomi nugui is usually composed of magnetite or tsushima and other compounds depending upon the desired color for the jihada. The nugui mixture is applied to the whole blade and if properly done, the hamon will whiten slightly but surrounding areas will darken considerably. In this case, the hamon's appearance is exactly preserved. This process is normally only done on blades with well-defined hamons and grain patterns.