Honing – choosing the right media for you

Well, we’re going to talk about honing, the second part of the Gateway skill of sharpening.  But to start off with, we need to make some “hardware” considerations.  We need to take a look at a variety of honing media.  There’s a lot out there, much of it accompanied by a fair amount of hype.  So we’re going to “cut thru the crap” and take a look at reality. 

There are a couple of things we need to keep in mind while making our investigation.  There are two considerations when sharpening tools, the actual sharpness of the edge and durability.  Roy Underhill uses an elegantly simple illustration to demonstrate the ideal tool edge condition and hopefully he won’t mind if I “paraphrase” him; 

 

Also, the speed with which you can “refresh”  an edge tool has a tremendous impact on your productivity and creativity.  My goal is to spend as much time as I can working the wood, not sharpening the tool.  I’m going to assume that’s your goal as well.  That said, I’m going to immediately rule out one method of honing that has become very popular, especially among amateur woodworkers, the “so-called, Scarry Sharp System”. 

In my experience, there are a number of ways that folks can derive pleasure from woodworking.  Some folks simply are driven by their creative muses to be constantly making stuff.  Some folks love to collect tools.  They love the history.  They love to possess something that ties them to a distant past.  Anyone who loves working with handtools has an understanding of and a little bit of the collector in his or her own nature.  Some folks really like to sharpen tools.  They can usually be recognized by the lack of hair on hands and arms.  These folks love the Scarry Sharp System.  It can produce incredibly sharp edges.  However, in many cases the practictioner overlooks the need for edge durability.  It is truly impressive to see a hair split with a broad axe.  But the reality is that the edge doesn’t hold up well when doing the hewing and shaping work that the axe is intended for.  My other objection to the system is that it is expensive.  Start adding up the cost of Wet/Dry sandpaper or expensive Micro-film that is rendered useless when it is unintentionally sliced in half.  I won’t take long to see that a very expensive whetstone can easily be justified.  BTW, I have my Grandfather’s  oilstone, the one I learned to hone plane irons on.  I have none of his sandpaper. 

Gramps' oilstone has been used by workman in my family for more than 100 years

Okay, now that I’ve infuriated and/or alienated a substantial number of my friends and colleagues, let’s take a look at the pro’s and con’s of the honing media that strike me as both technically effective and economically justifiable. 

OIL STONES 

These have been around since “who tied the pup?”.  The name, oilstone, derives from the fact that an oily lubricant must be used during the honing process.  The oil carries metal particles lost from the blade away from the stone’s surface.  This prevents metallic glazing, which, can render a stone useless. 

Natural Oilstones are generally novaculites.  Recognizable varieties include (but are surely not limited to) Arkansas, Washita, Belgian Blues and Slates.  Arkansas stones are the most widely recognized in the United States.  These stones can range from moderately coarse (Soft white) to incredibly fine (Transparent black).  Oilstones can vary dramatically in density and particle size/shape, with price varying accordingly.  But as the adage goes, “you get what pay for”.  

Manufactured oilstones, such as Norton’s India and Chrstylon, are available as benchstones, or as slipstones.  These stones are usually somewhat less expensive than natural stones and offer good performance. 

Oilstones, while somewhat slower than other honing media, wear exceptionally well and do not require frequent flattening.  The can be a little messy due to the requirement for lubricant.  But, there’s every reason to believe that any oilstone you purchase could end up on your grandchild’s workbench. 

Manufactured and Natural oilstones - India, white and black Arkansas

WATER STONES 

Waterstones can cut with amazing speed.  They can create an incredibly polished edge.  Waterstones require the constant presence of water on their surface (in some cases submersion during use) to carry away metallic waste.  Best results are achieved when a secondary stone (similar to a chalk or talc) is ground on the surface to create a slurry which increases the cutting and polishing action of the waterstone.  Waterstones can be naturally occuring or manufactured.  Some waterstones can be prohibitively expensive.  All waterstones degrade very quickly and require frequent flattening.  Also, it is very easy to damage the surface of a waterstone while sharpening tools such as chisels or gouges.  While offering incredible performance, when used correctly, the novice should understand that there is a high level of maintenance associated with any waterstone.  Waterstones are also available in shapes such as slips, cones and files. 

Waterstones - 4000/8000 combo (left) and a "12000" grit natural Chinese stone

DIAMOND STONES 

Even the most hidebound traditionalist has to make an occassional concession to technology, especially when it works well.  And diamond honing media falls into that category.  Diamond hones are available as bench stones, slips, files, rounds, et cetera.  Diamond hones can be used with or without water.  (If used dry, they can simply be scrubbed free of any glaze or build-up that has occurred).  Diamond hones are extraordinarily durable, typically using steel or steel reinforced resin as the support for the application of graded diamond particles.  Diamond hones are available in grits from the very coarse to the very fine, with an 8000 grit bench stone being available from one manufacturer that can rival the surface finish of a waterstone.  They require only light pressure during the honing process, cut very quickly and will rarely, if ever, require flattening.  The initial investment can seem a little daunting.  But in terms of the performance/cost ratio, they are very difficult to beat.  BTW, I have inadvertently knocked my 8000 diamond stone off my bench, picked it up and started honing again, while thinking “boy, I’m glad that wasn’t an oilstone, waterstone or ceramic that I just dropped”. 

Several styles of diamond hones

 CERAMIC STONES

 Ceramic honing media offer yet another option.  They are reasonably fast cutting, produce an excellent edge and rarely require flattening.  They should be used with water as using them dry will lead to glazing, which can be very difficult (if not impossible) to remove.  While fairly durable, they can be prone to cracking caused by point impact (as in dropping them from the benchtop).  Ceramic hones are available in all the usual shapes.  They can be expensive but offer very good value for money.

Ceramic benchstone and round - extra fine

SO, WHAT’S THE RIGHT ONE?

Well Virginia, there is no Santa Claus.  There simply isn’t one right honing media.  They all have there place and they all excell in certain applications.  Plus there’s one other thing to keep in mind.  You still need a grinder and/or coarse stones for initial edge shaping and the final step of polishing (stropping or buffing) will improve the edge, no matter what honing media has been employed.

That said, I have developed some “honing habits” over the years.  They’re right for me, and they might prove helpful to you.   But again, there’s no “right way”, only the way that works best for you.

For honing edge tools that can be held in a guide, like plane irons or register chisels, I prefer the large diamond honing plates.  The cut fast and create a good edge with a minimum of fuss and provide an adequate support surface for the guide to roll on.

For honing cambered irons, tapered section chisels and gouges, or anything that I’m going to “hand-hold” while I hone, I still find oilstones give me the best results.  Plus, I get the benefit of having a few “swarfy” oil stains to keep my old workbench lookin’  gnarly.

When I’m honing turning tools, I typically will use diamond “paddles” for outside surfaces and ceramic cones or rods for inside surfaces.  The speed and ease with which they cut allow me to keep my turning tools consistently sharp.  I prefer surfaces that are “off the tool”.  My goal is to never have to sand a turned surface.

Sloyd knives, chip knives, detail knives and other carving tools all must be maintained to the absolute highest level of sharpness possible (while maintaining the appropriate durability).  In recent years I’ve turned to ceramic stones to accomplish that task.  However, stropping these tools after honing is always required.

Lastly, the waterstones.  I got ‘em, I love ‘em and the finished edge that they can create.  But when all is said and done, if I had to give up any of my honing stones, these are the ones that I could live without.  And, if push came to shove and I could only have one variety…hmm…     you’re just going have to make up your own mind. 

But remember, “you can’t do your best work with dull tools”.

Sidewinder project update

“Coupe de fleur’, who in reality is friend, workmate and nationally recognized expert and author on Craftsman furniture, raised a question on the Sidewinder’s drive arrangement and whether or not I planned to use a tapered drive and a multi-diameter headstock pulley.  He also mentioned the possibility of a set up that would allow for the use of a shell auger.  Fact of the matter is that I am contemplating using a MT2 drive and some type of quill set up in the tailstock that will allow me to use a live center and permit me to thru-bore.  Still doing a little contemplating regarding the need for anything other than a single diameter headstock pulley.  Here’s a “cartoon” of the reeving pattern.  If anyone sees any obvious flaws, please let me know.

Also, I’d like to thank Roy Underhill.  I asked Roy if he was familiar with this style lathe and what he felt was the best material for the drive connection.  He responded the next day, identifying the machine as being very similar to the one on display in the Norwegian Folk Museum and, in his experience, round leather belting was the best choice for the drive connection.  Roy is a “national treasure” and he proves the old adage that if you need something done quickly, ask a busy person.  Thanks again.

One more trick

At some point during your woodworking career, you’re going to have to determine the radius required to create a certain arc (or circular segment).  You may want to put arched windows or doors in that new castle you’re building or you may simply want to make a few arched topped panels for a cabinet or chest.  Well, as with many things in life, it turns out that there are two ways to get to the same place.  The first, and quicker of the two is by mathematical calculation:

The second method, although more time-consuming, works well when you have to lay out multiples of the same segment, in larger scale, i.e. laying out rough openings, building curved walls, etc.  A nail is simply driven at both ends of the chord.  A third nail or simply a mark is set to indicate the TDC of the arc (arc height).  A triangle is constructed from lathe, plywood strips, or straight furring strips.  Each “leg” of the triangle should be somewhat longer than the chord length.  A pencil or nail is affixed at the apex of the triangle.  When the triangle is held against the nails at the ends of the chord and moved right and left, the segment is described.  This technique is especially useful when there is insufficient space to lay out the arc using a line or beam to swing the radius.

QED

BTW, if there’s wood lathe laying around on the job you’re working on, you’re taking way too long to complete it!

THE “SIDEWINDER” LATHE PROJECT

Call me irrational, illogical and a spendthrift, if you will.  But I’ve concluded that one can never have too many treadle driven lathes.  After all, God saw fit to give us two feet, so…  Over the next month or so, I’ll be working on a “sidewinder” style, continuous rotation lathe.  This is a curious configuration, with the wheel sitting parallel to the lathe bed, that offers a number of distinct advantages and challenges.

The advantages of this design are; the wheel diameter is only limited by the number of pulleys that are required to create the appropriate reeving path.  The larger diameter wheel can generate much higher spindle speeds with fewer treadle strokes.  The crank link will be in the center of the treadle.  This will allow me to build a trapezoidal treadle which will be both stronger and lighter than a “side load” treadle (type seen on most treadle lathes).  The actual depth of the lathe will be much narrower than one with the wheel perpendicular to the lathe bed, therefore saving valuable floor space.

I’ve only seen two partial photographs of this style lathe.  If anyone out there has any information that they could share with me, I’d certainly appreciate it.  Stay tuned.  We’ll doubtlessly uncover some arcane information about gear ratios, reeving, pulleys, bearings and rope splicing.  Should be fun.

SPRING POLE LATHE TOOL CHOICES

When I first became interested in spring pole lathes I assumed that I would simply use the same tools that I used everyday on my powered lathe.  I remember reading that a spring pole lathe was “safer” than a powered lathe due to its lower operating speed.  Well, it turns out that due to amount of torque generated and the fact that a spring pole lathe is a reciprocating tool, I’ve re-thought my tool selection.  Perhaps I can save some novice pole turners some frustration by sharing a few thoughts about some tools that I find useful when using my lathe. 

My little "Pride and Joy"

 Understanding the “Catch” 

Most  turners  use the word “catch” to describe the moment in which a shearing tool, more often than not the skew chisel, decides to take off, seemingly of its own accord, and leave a deep diagonal line across the face of the work.  This, invariably, happens when the surface is nearly complete, necessitating an unexpected “design change”.  This phenomena might better be referred to as a “chase” or “skate” as it is created when the cutting edge has an insufficient clearance angle.  The workpiece literally drives the tool which acts like a threadchaser.  Due to the high torque of the spring pole lathe, a “skate” can happen very easily. 

The classic skew "skate"

 Rolling Beads 

Rolling beads with a skew is the mark of a skilled turner.  That said, the fact that you are presenting a cutting edge that is diagonally positioned to the rotation of the work is “flirting with disaster”.  The skew chisel will remain the best finishing tool, bar none.  However, when rolling beads on a high torque, reciprocating lathe, there may be other options that will make life a little easier.  The first is the beading and parting tool.  It is simply a narrow, double-edged chisel.  It is simply presented perpendicular to the workpiece axis, then rolled in either direction to form the bead.  The finish left by the tool is quite good as the double bevel burnishes the surface as the cut is made. 

The Beading and Parting tool - note the perpindicular presentation

 A second option for rolling beads is the bedan.  It is similar in size to the beading tool.  However, it is a single bevel tool.  This means that the cutting edge is ground at a steeper angle than the beading tool.  “Bedan afficinados” will typically work the bedan in an “upside down” manner, meaning bevel up.  I becomes a very agressive shaping tool when used in this manner.  The surface finish created when using the bedan in this manner is rather “open” and may required a little additional burnishing or sanding.  Using the bedan with the bevel down yields a nicely burnished finish.  The steeper cutting angle will require some adjustment.  The turner may find that a “bevel down” bedan offers a somewhat better finish when turning figured workpieces. 

Running the Bedan with the bevel up

Gouges – Shallow is good 

For me, a shallow gouge and a perpendicular presentation seem to work best on the spring pole lathe for creating longer or varying radius curves.  The classic “English” grind or a shallow “Ladyfinger” work especially well.  That said, I’ll frequently use a very exaggerated detail gouge for rolling convex, as well as concave surfaces.  With gouges, like straight or skewed chisels, the turner must be aware of the cutting and presentation angles.  

"English" grind shallow gouge

"Ladyfinger" shallow gouge

Sharp tools, understanding cutting geometries and practice = Great results

 

Practice, practice, practice.  And, when you get a little discouraged, just remember that some of most complicated turning ever accomplished was done on a spring pole lathe, well before the discovery of electricity.

 

“It’s a poor workman who blames his tools”

SHARPENING – Getting started with the right edge shape

As promised, we’re going to start talking about the number one Gateway skill, sharpening.  I’m sure that  all experienced woodworkers agree that there are three distinct steps to the sharpening process; shaping (grinding), honing and polishing.  Today, we’re going to take a look at the first step, shaping the cutting edge.  But there are several things to keep in mind as they’ll influence the way we look at the information.  This presentation is based on sharpening edge tools such as chisels, plane irons and knives.  The study of various cutting geometries has become a separate discipline within the realms of mechanical and industrial engineering.  In order to keep this simple and understandable, we’re going to assume that every tool discussed today has a shaped edge angle of twenty-five (25)degrees.  Over the years, toolmakers have settled on the notion that this is an angle that will provide the best performance in the majority of circumstances.  However, you should understand that this is a compromise.  There are two considerations that dictate this compromise, sharpness and durability.  And one will always influence the other.  Let’s get started. 

The three basic shapes for shearing tools

 Hollow grinding produces an edge that can be honed and polished to extraordinary sharpness in a very short time.  The shape is created by grinding on a convex abrasive surface, such as a low or high speed grinder, slow-wet grinder or a foot powered wheel.  The depth of the hollow is determined by the diameter of the abrasive media.  Honing a hollow ground tool is made easier as you need only to ensure that both the “heel” and “toe” of the ground edge are in contact with the honing surface.  The down side of the hollow ground edge is that it is the least durable of the three shapes.  The hollow ground shape should be used in situations where there is very little or no impact on the tool, ie paring chisels and other shearing tools.  The most exaggerated example of a delicate hollow ground tool is the straight razor, which in fact is “double hollow ground”.  Woodwind players who use cane reeds will be familiar with the reed knife, which bears a striking resemblance to the razor (and is, indeed, a very simple tool to make).  Anyone who has dropped either of these tools onto a hard surface will be able to testify as to just how fragile the edge can be. 

The flat grind provides increased cutting edge durability as well as excellent sharpness.  Bench chisels, plane irons and other edge tools that are subject to intermittent, low impact benefit from this shape.  The flat grind can be created with coarse hand stones or by using any of the numerous ”flat” grinders that are currently available. 

The convex or rounded edge shape is the most difficult to create and to maintain.  However, it offers superior durability and, when properly maintained, very good cutting capability.  This edge shape should be used for tools that see high impact (i.e. mortising chisels) or prying activities (i.e. carving tools, drawknives). 

Whenever possible, jigs, guides and toolrests should be used when shaping the cutting edge.  A light touch at the grinder is an absolute necessity.  Many an edge tool has been ruined by overheating.  Keeping a finger in contact with the back of the tool while grinding will serve to notify you if you’re building up too much heat.  When it feels hot, it should be cooled by dipping it in water.  Another “trick” that will help minimize the possibility of overheating, is to rub paraffin or some other hard wax onto the the grinding wheel.  As heat builds during the shaping process, the was begins to melt and draws heat away from the edge being ground.  The “wax melt” method can be very useful, especially when large amounts of stock must be removed, but be prepared to deal with the clean-up.  It can be a little messy. 

Okay, so now you should be able to select the edge shape you want for a particular tool.  After we’ve created the shaped edge, we’ll have to hone it.  We’ll talk about honing and polishing over the next few days.  And remember, “your best work can only be done with sharp tools”.

GATEWAY SKILL NUMERO UNO

I’m always shocked when I find that someone will pay five hundred dollars for a plane, chisels or turning tools then balk at paying a hundred dollars for a good honing stone.  Apparently, there are a lot of people out there who are of the opinion that more expensive tools don’t require sharpening.  Oh my…

Gramps was insistent.  First came sweeping.  Then came sharpening.  Sharpening fifty years ago meant sharpening every tool that had a cutting edge.  While throw-away tools were available, no self-respecting joiner would use them (or simply put, throw money away on them).  Plane irons, chisels, auger bits, scrapers, drawknives, spokeshaves - all had to be maintained at the highest level of sharpness and durability achievable.  Each tool had its own specific (and many times peculiar) cutting edge geometry.  “You can’t do good work with dull tools” rings in my ears to this day.  Lesson number two was the first, and very likely the most important, Gateway Skill.

Over the next few weeks, I’m going to take a look at what constitues the sharpening process and various methods for grinding, honing and polishing.  I think that the information will be very helpful as many people seem to think that sharpening is some black art, when in fact it is an easily understood and highly repeatable process (simply requiring the engagement of both hemispheres of the brain). 

So information is on the way, some raw, some refined.  I’ll be throwing it out there and the rest will be up to you.

Caveat Emptor

Just a short word of caution, then we’ll move on to more productive stuff. 

I entered into the world of woodworking some fifty-two years ago and I’m still surprised that I can learn something new every day.  And, I love to share the knowledge that I have gained with anyone who is receptive and willing to to learn.  That said, not everything that works for me will necessarily work for you.  We all have our own methods and levels of skill.  So, please don’t assume that I’m making any guarantees of success, either real or implied.  As I said in an earlier post, I’m “throwing these tricks out there” for your examination and consideration.  But every “mother’s son (or daughter)” will have to make that trick “his (or her) own”.

One final thought for this post; woodworking skills are like any other skills, they must be practiced.  You don’t shoot par if you play once a year.  You must practice…practice, practice, practice.  Not everything that you do will be a masterpiece.  You WILL make mistakes.  Don’t be afraid of them.  The only people who don’t make mistakes are the people who do nothing (and then, many times comment on someone else’s mistakes).  One of the great things about woodworking is that you can heat your shop with your mistakes!  You only have to satisfy yourself and remember that there is much more to be learned from failure than success, if you will only open your eyes.

Learn the gateway skills.  These are the skills that allow you to raise you natural strengths (talents) to the level of true mastery.  Make a commitment.  That’s what it takes.  It just doesn’t “happen”.

“The ole’ high angle plane trick” or UNE SECRET DU METIER

More than once in my youth I was reminded that “a tradesman gets paid for what he knows, and if a tradesman tells everyone the secrets of his trade, people won’t need to employ him”. 

Trade Secrets.  Les secrets du metier.  The arcane minutia.  Things that you only share amongst brothers in craft.

The bad news is that many of those secrets have been misplaced, not lost, just misplaced.  The good news is that in the age of information we’re living in, there’s more arcanery being shared than ever before.  And, hopefully, everyone will be the beneficiary.

I recently watched an episode of Underhill’s Woodwright’s Shop with Brian Boggs.  During the course of the show, Roy commented on a spokeshave that Brian had modified for working figured or otherwise “gnarly” wood.  It was a concave shave.  Brian had simply turned the iron over and placed the bevel up.   But…here’s the secret, he had turned a small burr on the edge.  Most people associate “burr” with scraper.  But remember the definition of a scraping tool is a cutting edge that is unsupported (or minimally supported).  In the case of Brian’s secret spokeshave, he has actually created a “high angle” sheering tool.  Here’s the geometry that makes it work:

By simply turning the iron over and positioning the bevel “up”, we’ve increased the effective cutting angle to 70 degrees.  Now, it’s a pretty well accepted notion that a cutting angle (or “attack angle”, si vous prefere’) of 62 degrees, or so, is ideal for sheer cutting figured wood.  So, it should go without saying that, we have to reduce the angle by 8 degrees, give or take a skoch.  The quickest way to do is by turning a burr of 8 degrees, or so.  (By turning a burr, we can maintain the ground angle on the iron at 25 degrees, giving us a reasonably strong section.

“The ‘right way’ to do anything is the way that works best for you”

So here’s what happens when we put all this scientific thinking into play:

The "trick" spoke shave rounding out some pretty curly maple. No tear-out whatsoever. Send me some of those Queen Ann legs.

Looking down the throat of the "trick". Bevel clearly positioned on the top with the slightest of hooks visible (if your eyes are exceptional)

 Well, we know it works on rounded surfaces, so how does it do on the flat?  Let’s see:

Iron from Union transitional smoother. Breaker has been re-positioned, putting the iron in a "bevel-up" condition.

Okay, here’s the really interesting point here.  This lil’ ole’ Union plane has been sitting on the shelf for a couple of years.  The iron hasn’t been sharpened in the same amount of time.  I DID NOT turn a hook (burr) on the blade, so when assembled it will have an effective cutting angle of something HIGHER than 70 degrees.  Transitional planes are notorious “chatterers”.  Yet the picture below says it all.  Same piece of curly maple and the only blemish on the “complexion” of this board is where the worms decided to take up residence.

Smooth as silk - the worms just love it!

 So, there it is, another mystery uncovered and another item for your ever growing “bag-o-tricks”.  But remember, all tricks take a little time to master, so don’t get discouraged if it doesn’t give you “masterpiece” results the first time that you pull it out of your bag.  You gotta work a little to make it “your own”.

The next time you pick up an old plane and see the bevel pointed skyward, you’re gonna have to ask yourself “did the dealer just not know how this thing was supposed to go together or have I got a tool that was once held in the hands of a ‘master’”?

And always remember “It’s a poor workman who blames his tools – Gramps”.

TUNG OIL – prolonging its shelf life (An old dog learns new trick)

Most traditional woodworkers tend to favor traditional finishing techniques.  We talk about chemical staining, French Polishing, milk paint, and making our own varnishes.  Hardly an area of interest for the newly initiated.  But one finishing technique that is appreciated by both indefatigable traditionalists and complete novices is the use drying oils.  They’re nearly foolproof to apply and, with a little patience and elbow grease, provide one of the finest finishes available.  The term “hand-rubbed” oil has a certain amount of panache about it and with good reason, it’s an absolutely beautiful finish.  BLO (boiled linseed oil) or Tung oil, you choose.

Of course anyone who has used an oil finish has probably experienced what happens to a partially full can or jar when it is left on the shelf for as short a time as several weeks.  It begins to gel then harden.  Many people think that they have purchased “old” product from their supplier.  But the truth of the matter is that the oil is doing exactly what it supposed to do, it is drying and hardening in the presence of oxygen.  All you have to do is replace one expensive can of oil that “hardened up” prematurely to realize that you’ve got to take steps to optimize its shelf life.  That means that you have to minimize or completely eliminate the oxygen left in the can prior to storing any remaining oil.  There are several ways to do this.  One old method is to fill your can with marbles or aquarium pebbles.  The addition of these solids raises the liquids level and minimizes the amount of oxygen left in the can.  A more current method is to use an inert shielding gas (like argon) to displace the oxygen left in the partially full can.  This method works well.  Simply hold the lid close at hand, shoot a little gas into the can, then “put the lid on it”.   As I said, the method works well, but many folks can be a little “put off” when they pick up that can of shielding gas.  It really doesn’t feel like there’s anything in there.

But while continuing to look for methods to improve my own finishing techniques (really all woodworkers want to build unfinished furniture), I stumbled across a tip for improving drying oil shelf life.  It is from the site of a very well respected tung oil producer.  It’s simple – so simple.  It works.  I’ve tried it.

Be sure not to put this stuff in the pantry

Float the oil on water.  That’s right!  Take that can, or preferably a jar, over to the sink and run water into it.  Bring the liquid level right up to the top and stick a lid on it.  The OIL FLOATS! 

You will have to change one part of your process though.  You’ll have to use a basting syringe, or some like device to withdraw the oil from the container and place it in a smaller container that will accommodate your method of application (brush, rag, abrasive pad, etc.).  However, this is a good thing as leaving the container open while applying the oil expedites the gelling since the surface of the oil is exposed to oxygen. 

So try it.  It’s cheaper than marbles or gas.  And, believe me, it’s a lot easier to “suck up” a little oil as you need it than it is to pour that expensive oil from a gallon jug that’s full of aquarium pebbles.

QED