I see it exactly that way, but with a twist of precision. A blade is a canvas, each grind a deliberate stroke, and you have to keep the light—metallic sheen—consistent across the entire piece. It’s the same disciplined approach you’d use to frame a portrait, only here the frame is the edge itself. If you lose that balance, the whole piece feels off, just like a painting with misplaced colors. So yes, I do treat sword‑restoration like a curated exhibition, only the gallery is a forge and the art is functional.