Every day I give brief consultations to someone who is going to make a board for playing Go himself, sometimes I buy "incredible boards" or exchange them for normal ones, I have formed in a sense a collection of "human and non-human" boards for playing Go ...

Great idea, in my opinion, what do you think?

I'll tell you straight - the first boards, and often a batch of boards, always go to waste, money - there too. But this does not mean that you should not make attempts, does not mean ...
I propose, referring to the experience of Goam, to turn your attention:
1.on the idea of ​​the line (this is the first IDEA of GO)
2.to the idea of ​​a point (this is the second IDEA of GO)
3. the combination of these ideas and, accordingly, the size of the line and hoshi ...

Goama deliberately does not give sizes in this article, because size is secondary, although it is very important. A board without an idea is much worse than a board without dimensions. So, in more detail ...

Poor hand markings are much cheaper than machine markings, but masterful hand markings can be much more expensive.
But then the hand of the master should be visible. If it IS, you cannot hide it. After that, the question of price may not be raised. Someone is willing to pay, for example.
But the idea is the most precious thing. Even taken by itself.
Even taken from the photo.

One might wonder - why the actual katana, why the sword?
Why, knowing the Japanese passion for technology, was not a special marking tool invented? At least for expensive boards?
And then we will get the correct answer - why. And then you can understand the idea of ​​manual marking, and the idea of ​​an expensive board, and the idea of ​​a Go line. Right? Thus, one can understand what the Japanese master will not tell even under torture.

With pathos:

1. I am no longer interested in the price of a Go board. I don't want to buy based on price. I am now only interested in how the Go board is made.

2. I am no longer interested in what the board is made of. I am now only interested in how the Go board is made.

3. I am ready to pay more for any Go board if it is signed on the reverse side, for example - Master Name Surname (of this master), once again - not just Name, Surname, but Master Name Surname.

Is there any money in RossGo for a board made by a Russian craftsman?

I'm afraid that's enough for now. While Go boards from a Russian manufacturer cannot be expensive:

1. Rossmaster still saves on material, reluctantly finding dry material. He does not have a moisture meter and does not carry it in his pocket.

2.Rossmaster will not be able to find the correct line thickness yet, which is not included in the number of millimeters
3. he does not understand the very idea of ​​manual marking, he does not push through lines after pencil marking, and he does not clean the pencil with an eraser.

4. he goes one line behind the line, thinking that it is imperceptible.

5. he does not understand what the thickness of the board should be, he does not understand the board module and has no idea what a board module is

6. The 19 x 19 line grid is a rectangle. This rectangle also has its own idea. For example, it should be positioned according to the direction of the fibers.
7. he does not understand the size of the hoshi point and its purpose
8. he will not be able to understand the size of the fields and their ratio, considering it insignificant
9. he will "immediately do on the material"
10. he will choose the varnish ill-considered, apply the varnish with the wrong brush, the room will be dusty
11.he doesn't know how many layers of varnish are needed
12. he will not be able to fulfill all the nuances of the board, because he never had an expensive board, did not choose it and did not buy it for his hard-earned money

13.Go board should be beautiful

14.the board must be a finished thing, completeness must be visible to the consumer

... What are we actually talking about here?

We're talking about what people in the regions can do if they want to make money by creating truly valuable products.
This refers to people who have "hands from the right place."
I want to say that a person who is able to make a very good Go board should not be afraid that there will be no one to buy it.
Will be. Although the buyer will be picky, and it will be difficult to surprise him.
He will not be able to slip "non-production". You can't slip bullshit on him.
He will not look at the price, but he will look at what Goama was trying to list. He reserves the right to inspect, but not buy, an imperfect item. He will also look at the fact that he did not list Goam. On what he kept silent or did not even know, he did not guess. But this, for example, will already be on the board.

We believe that Goama is announcing a Go board competition.

“Go creates an image in the soul. And the particles of this image are all the details of the setting - goban, stones, room, players, books, etc. Go should not be a "logical game that develops ingenuity", but something that touches the soul - beauty, quality of things, quality of relationships, its very atmosphere "- Alexey Khovanets, Vladivostok.

Second way.

If you were able to organize ten people around you who are enthusiastically engaged in Go, then you will already be with a good set, it will just appear with you almost by itself. If you organize 100 amateurs, you will have basalt, kaya and Mexican shell stones, 1000 people - Japanese shell stones, etc.
This path is not difficult, but it requires a certain effort, soul and time.

That is, organizing your own Go-club is tantamount to making a good board.
This is another path for people with an average level of wealth. No one will be able to allocate several thousand from their budget for an expensive kit, there simply will not be such an item in expenses, it will simply be “not needed”.
The kit appears from an abundance of people and for people who are many around you, HE COMES BY YOURSELF, LEADS IT TO YOU, if you communicate with this, hear his whisper, transmit his whisper to others.
The truth of Goam is that Goama could not only imagine such a path, but also walk it. Even more. Now others can follow the path of Goam.

This is a repost from my magazine. There is a lot of information for those who are not aware of it, so do not scold)

Yesterday IKEA accidentally saw and understood - this is it. I've been nursing a place to make my own goban for a long time. Goban is a thick board, even a go platform. Strictly speaking, I only want to make a board for playing go, because the goban looks like this, in the Japanese tradition all sizes are completely standardized, played on it while sitting on the floor. The most expensive ones cost hundreds of thousands of dollars, are made from a single piece of a certain type of kaya pine, which has been growing for years, and all that kind of stuff is a real "Stradivarius drum". Moreover, almost literally - one of the most important properties of a high-quality goban - the sound made by hitting a stone on a board. The clubs use simpler boards.

I already have a board made of pressed cardboard or chipboard at home - on the one hand, the standard size is 19x19, on the other, it is smaller than 13x13. Less than 13x13 is only a tiny 9x9 board, which is used by initial training for very beginners. But it needs to be cool, so that there is a pleasant weight of the board, the sound from placing a stone on a tree and other aesthetic subtleties.

In short, a note to home masters of Go. LAMPLIG cutting board is for sale on the 1st floor in Ikea. Instead of the letter A, the letter A is written there with two dots at the top. Judging by its weight, the board is made of glued oak, treated with oil. On one side, a 90 degree bend is attached. It costs 600 or 700 rubles.

End view - gluing lines are clearly visible. At home, such a shield cannot be made; it is made in factories, under pressure, with high temperatures, etc.

When placing a cardboard board on a cutting board, it can be seen that the sides of the LAMPLIG are wider by only 2-3 mm, in length - 5-6 centimeters are issued:

And here is its working surface as a cutting board, with a curved handle and a groove for draining liquid:

I'll deal with her soon. I probably won't cut it, the dimensions are practically suitable. I haven't decided what to do with the bend yet. You can carefully cut it off with a circular, or you can put a bar or a block under the opposite side, glue it or screw it on - and there will be a board on the counter!

Our friend made himself from MDF, and he made a western one, but ours inserted his pictures into his blog for demonstration.

Another development of the topic in Russian conditions. Based on the same source, but made from furniture board. In stores, I did not find such a furniture board that was without features such as large knots, bright drops, etc.

I found a video of how a man made himself a goban, long and painful, but interesting and entertaining:

I foresee something similar in the summer at the dacha.

The design of go kits is rooted in tradition and has evolved over the centuries. The dimensions of the board, stones and bowls, the materials from which they are made, have not changed for a long time. Modern technology has had little impact on the traditional methods of making high quality gobans. The best boards are still handcrafted by skilled craftsmen who learn from their fathers. Family traditions have been preserved for many generations.

The go board is not exactly square. The standard size is 45.4 cm long and 42.4 cm wide. As a result, the stones touch each other slightly in a horizontal direction, but the monotony of a perfect square is destroyed. Players usually increase this effect by placing stones not exactly at the intersection of the lines. Sitting at the board during the game, the player looks at the position at an angle.

The thickness of the board depends on the taste of the owner. A traditional goban is between 15 and 19 centimeters thick. The standard leg height is 12.1 cm, and the total goban height is at least 27 cm.

The diameter of the black stones is 2.1 cm, and the white ones are 2 cm. The white ones are slightly smaller to compensate for the optical illusion, as a result of which black seems to a person smaller in size than white. The shape of the stones is complex, the thickness can vary depending on taste, from 5 to 12.8 mm. The most common sets use stones with a thickness of 8.4 to 9.8 mm. Thick stones are awkward, and thin stones are not so pleasant to put on a board.

Fine go boards are made from the glossy, textured wood of the kaya tree (kaya, lat.torrea nucifera). This yellow wood is ideal for gobans because its color harmonizes with the color of black and white stones, and because it makes a lively sound when placed on a board. Kaya wood is durable and its color becomes deeper and richer over time.

The quality and price of kaya gobans depends on many factors, the most important of which is the cut of the tree. There are many ways to cut a tree trunk, each of which creates its own characteristic pattern of the surface, ends and sides of the goban. The best gobans have a straight pattern on the playing surface and at the ends. It is achieved by cutting a tree called tenchimasa. These gobans cost between 6 and 20 million yen.

The masame gobans are also quite expensive. These boards have an uneven texture from the end, as can be seen in the photo below. This cut also provides a straight texture on the playing surface. High quality masame gobans start at 2 million yen and go up to six million.

One of the reasons for the high price of these gobans is the age of the tree. To get a piece of the right size, you need to use a tree over 700 years old. Only one or two tenchimasa boards and a few masame boards can be made from one tree. Which is very little.

The cheapest kaya wood gobans are itame gobans. The picture shows that the playing surface has an irregular structure. From an aesthetic point of view, this is not desirable, as a result, and the price is much lower. Starts at 400,000 yen. Multiple itame gobans can be crafted from the same tree.

The player who wants to play the beautiful kaya wood goban at home, but cannot afford to pay such a high price, uses a 5 cm thick kaya board. These boards are usually made from two or three pieces of wood expertly glued together. Excellent surface texture is achieved by careful selection of the texture of individual bars. These boards (one of them can be seen in the photo) cost about 80,000 yen.

Due to the high price of kaya boards, katsura boards (cercidiphyllum japonicum, Japanese scarlet) are widely used. Boards made of this wood have a very reasonable price and for this reason they are played in clubs. More recently, wood from trees common in North America and Indonesia has begun to be used for the manufacture of inexpensive boards. Although it is not at all necessary to play on wooden boards, players believe that they get more pleasure from the game if, when placing a stone on the board, they hear the sound of a resonating tree.

Black stones are made from slate mined in Wakayama Prefecture. These stones are relatively cheap. It is the white stones that form the basis of the cost of a go kit. Traditionally, they are made from the shells of the mollusk that lives in the Hyuga and Miyazaki prefectures (Hyuga, Miyazaki). Like kaya wood, these shells are rare and expensive. Now white stones are made from shells of mollusks living in Mexico. They are not so rare, but they fit just as well. As a result, the cost of a set of beautiful stones for Go has decreased several times. However, depending on the thickness of the stones, a set of stones with white stones from Mexican clam shells can cost anywhere from 16,000 to 250,000 yen. Most players in clubs use impact-resistant glass and plastic stones.

As in the case of wood, the texture of the surface of the shell stones is of great aesthetic importance. The smoother the lines, and the more often they are, the better.

The stones are kept in round wooden bowls with lids. The most expensive bowls are made from a beautiful mulberry tree, which grows only on the island of Miyakejima in Tokyo. A pair of these bowls can cost hundreds of thousands of yen. The more common bowls are made from cheap woods such as keyaki, a beautiful yellow wood that matches the color of the kaya. Chestnut and plastic bowls are most commonly used in clubs.

How to play go

Go is played by two on a board with a set of black and white round pieces called stones. The complete set of stones consists of 181 black and 180 white stones. There are 19 longitudinal and 19 transverse lines printed on a standard full size board. The number of stones corresponds to the number of intersections of these lines.

The object of the game of go is to conquer territory, which creates many analogies to wars on earth. There is both border fighting and invasion of enemy territory, enemy forces can be surrounded and captured, groups of stones can be cut off, pinned down and cornered, diversionary maneuvers and reconnaissance are used. At the same time, this is construction. The players try to create good structures, efficient and solid positions. Strong players arrange their stones in visually appealing shapes.

Go rules

Although a 19x19 board is standard, beginners are encouraged to start learning the rules with a 9x9 board. On boards of this size, you can begin to explain the rules.

Rule 1. The pariah begins with an empty board.
Rule 2. Black moves first, after which White and Black move in turn.
Rule 3. The move consists in placing a stone on an unoccupied intersection of the lines of the board.

Diagrams 1 and 2 show typical opening moves on a 9x9 board. In Diagram 1 Black made the first move at the top right. White answered at the bottom left. In Diagram 2, Black played 3 at the bottom right, indicating a sphere of influence on the right side of the board. White placed stone 4 at the top left, marking his sphere of influence on the left.

Clarification

Once a stone is placed on the board, it does not move and is not removed from the board until the end of the game. We will consider the capture of stones in the following articles. Stones cannot be moved around the board. Except in a few cases, you can walk to any free intersection that you like, even to the extreme line of the board and to the very corner.

Go game. famous players.

Kitani Minoru, along with Go Seigen, was one of the greats of Go from 1930 to 1950. From the beginning of his career, he showed great promise and soon acquired the nickname Kaidomaru - gifted. He became the first dan in 1924 and by 1935 had reached seventh dan, an unprecedented growth in those days. In 1938, he won the tournament for the right to play his last game with Honinbo Shusai. Kitani won five points, and the game was the basis for the Meijin novel by Nobel Prize winner Yasunari Kawabata.

In addition to his success in tournaments, Kitani, along with Go Seigen, improved the theory of go by creating a "new fuseki strategy." He also contributed a lot to the development of joseki theory.

But Kitani left his greatest legacy in the form of many of his students, whom he trained. After the Second World War, Kitani founded a school called "Kitani dojo". He scoured the country in search of talented youth and attracted them to regular studies at his school. Every day these young people played Go and analyzed games under the supervision of Kitani and his senior students.

These efforts began to bear fruit in 1971, when one of his students, Yoshio Ishida, at the age of 21, won the Honinbo title from then-reigning champion Rin Kaiho. Rin was born in China and studied with Guo Seigen. The next five years were the years of Isis. He won the title of Honinbo four more times and finally took the title of Meijin from Rin, becoming the third Meijin-Honinbo of modern times.

Ishida became the firstborn of a new type of player that the Kitani school spawned. He was almost invincible, having won 30 games in a row in the qualifying tournament, was unfazed under pressure, calculating positions in cold blood. For his calculating abilities in yose he was nicknamed "Ishida Computer". Rin had it all too, but Ishida was a cut taller.

Th rules

Taking rule

Rule 4 A stone or a directly connected group of stones of the same color is captured and removed from the board when all intersections of the board lines directly adjacent to the stone (group) are occupied by stones of the opposite color.

D.1. White stones occupied three of the four points adjacent to the black stone, i.e. three lords of this stone. In this case, the black stone is said to be in atari.

D 2. White captures the black stone, occupying the last liberty, and removes the stone from the board.

D.3. Result of White's last move. Captured stones are deposited and stored until the end of the game. They will be taken into account when calculating the result.

Rocks can be grabbed both at the edge of the board and in the corner, as shown in the diagram.

Two black stones are connected. They are also in atari. White can capture them with 1.

This diagram shows a connected group of five black stones that can be captured.

Suicidal moves are prohibited. You cannot make a move that closes the last lame of your stones. In the diagram on the right, two white stones have one libert at point 1-1. White 1 is prohibited because the white stones lose the last liberty.

A suicidal move leading to the capture of the opponent's stones is permitted. If White plays 1 in the central diagram, then the liberties are occupied by the black stones on the right, and the white stone has no liberties. In this case, the one who made the move captures the opponent's stones. In this case, White captures two black stones.

Tasks

In these three problems, find Black's move that captures some of White's stones.

Virtual whiteboard

Try to solve these problems on a virtual board. Move the pointer to the point on the board, where you want to make the next move, and click the left mouse button.

Analysis of the game about Mayen. Analysis of the game in go. Basics of the concept of territory. Go game. the history of the origin of the game of go .. The game of go in South Korea .. the main -> Articles

5 years ago

Since there is a topic about different materials for stones, I will make one more modest contribution. I bought Korean faience stones. thickness 9 mm. I will not dwell on them especially, since they can be played in go clubs. In particular, in the go club "Territory". The only thing I would like to point out is that they are quite solid, although I have heard opposite opinions. When I was going to buy them, one user from the forum said that these stones break easily, that he has a very large percentage of the fight. However, I dropped my stones a lot and on a variety of surfaces. The most harmless - on the carpet, the most dangerous - on the tiles. And not a single even minimal chip. I don’t know how and what the comrade threw them about, but I didn’t face the problem of the fight.

I have a set of kaya (a board made by hand by a master, one-piece), made to order, black bowls, apparently walnut, covered with a specific varnish and stones made of basalt and original Japanese hamaguri in excellent condition (they were stored in the warehouse for 15 years, and were not used).

In terms of execution, almost everything is canonical. The only thing is that the wood is darker than usually used for bowls, but I really like the dark wood, so black thickets were presented. This is convenient as it does not distract your eyes from the board while playing.

The thickness of the stones according to the Japanese metric is 36. Ideal for me, since I do not like stones that are too thick. I don't like Chinese stones, they are inconvenient and can hardly be removed from the board with the help of "Japanese folding". These are convenient in that they do not ride on the board, but they also stand lightly.

On the downside, the dents on the board stay longer than they usually do on the board. Perhaps they violated the technology during manufacture. But this is almost imperceptible.

The lids crunch merrily, the stones ring soothingly, the sound is good when set. I thought about making myself a goban on legs, but now I feel that it is not necessary. This kit is pretty much nothing.

Speaking of the bowls and that they do not distract from the game, I found this beauty in the Chinese segment:


Made from wenge. And the price of all this joy, if you buy in China, is only 3000 wooden rubles. If you give somewhere 3300-3500, they will also add a full set of yunzi of a lentil shape with a thickness of 9 mm. This is the kind of grace that comes out. I don’t know how anyone, but I love such bowls with their inlay. These can even be put on a bookshelf as an interior decoration. I wanted to play - I took it off, played. Then I put beauty in its place.

Above, I posted photos of the bowls I already purchased for a friend with exactly the same (in terms of technology of execution) inlaid on the lids. This is definitely not a print. Checked. :) For that kind of money and on such a tree, they would simply not allow themselves to be limited to a print.

Good day to all. I decided to make another small contribution to this topic by preparing an overview of my small go collection. First, photographs of Chinese go bowls. Then a detailed comparison of the two types of yunzi and Chinese agate stones with the well-known faience stones. This is in case someone is interested in yunji, but does not have the opportunity, like me, to go to China. I apologize in advance for the mediocre photo quality. I hope it turns out to be informative enough.
So, for starters, the chalice, for there is not much about them. At the moment I have two pairs of locally made bowls.
1) Wenge bowls:


Rosewood bowls:


All bowls are carved from a single piece of wood, without seams. All are varnished. Moreover, quite well done. As expected, all bowls are fully inlaid, no prints. If you look closely at the drawings, you can find differences between them, which indicates manual work.
This is how the Chinese can do it when they want to. But even on TaoBao, I found such bowls only in one place, and their number is limited.

Now let's move on to the stones. I mentioned that this review will cover two types of yunji. Let me just make a small digression about what yunji are in general. In the Chinese online store TaoBao, I met 5 types, which can be conditionally subdivided into 2 categories:

1. Types A and B are both continental in shape (flat on one side) and, accordingly, small in thickness. The difference between them is most likely in the shade of the white stones. In their case, I can’t say anything for sure, since I didn’t deal with them.
2. Types C, D and E are lenticular. Type C stones are also called "new yunji". The manufacturer claims that they are made using modern technology. White stones are a little rough. Thickness within 9 mm. Type D stones are also called "old yunji". They are said to be made using old technology. The difference is that the white stones resemble bone in color. They are smoother to the touch than C. The thickness of stones of this type is within a centimeter. I also did not hold the last type E in my hands. Judging by the photographs, these stones differ from type D mainly in size (up to 1.2 cm).

The prices for the first three types of yunji fall within the 200 yuan range. The price of Yunji D and E jumps to 700 and 1400 yuan per set, respectively.
The main feature of all yunzi is the ability of black stones to shine through with an emerald color.

The material for the yunji is supposedly tempered glass. This can be judged by how the black stones shine through. And also on the chips. One white type C stone broke for me. I am posting a photo of his insides so that everyone can draw their own conclusions.

Let's start the comparison. From top to bottom: type D yunji, Korean earthenware, C type yunji, agate.

Same order from left to right:

Height and shape. The order is still the same:

A pair of agate stones separately:

As mentioned above, sorry for the quality of the photos. There is nothing better to photograph. I compensate for the rest, summing up the results verbally describing the pros and cons of yunji:
Pros:
1) Matte surface so that no fingerprints remain.
2) Emerald shade of black stones in the light. From a practical point of view, of course, this is not a factor. But aesthetically pleasing.
3) The strength is about the same as that of earthenware stones from Korea, if not more.
Minuses:
1) Black stones get dirty all the time. White streaks appear on them. Example in the photo:

Presumably, they appear from the fact that the stones beat against each other. Easily erased with a finger, occur after the stones are back in the bowls. How to deal with this, I have no idea.
2) The color of the "white" stones is dirty, which is also not happy with certain lighting.
Another feature that I do not attribute to either pros or cons: yunji is heavier than Korean earthenware stones.

Personally, for my taste, earthenware stones are better and more practical. They do not need to be constantly washed or wiped off with your fingers. White Korean stones look very beautiful. Their set turns out to be very contrasting. Taking into account the yuan soaring somewhere in the heights, they are also cheaper than large yunji. However, for a type D yunji collection, they are pretty good. Playing with them is also pleasant in its own way. The number of poorly balanced stones per set is about the same as for faience stones. Well, or a little more.
All conclusions are purely subjective. If anyone has any questions, ask. I will try to answer.

P.S.: The rosewood bowls will probably be up for sale in two and a half years. However, if anyone wants to purchase them earlier, this is possible in July. Please agree on the purchase in advance.

You're welcome. :) I really hope that I helped someone.

When I was playing in one of the local educational buildings, I had to quickly collect stones. As a result, 8 pieces in turn and in groups fell from a height of one and a half meters onto the tiles. Of the eight stones, one broke. Everyone else is safe and sound. Several faience stones fell from the same height to the same floor at the airport. And also only one crashed.

There was a need to supplement the previous review. I'll start with the bad. After taking a photo of the rosewood bowls, I put them in the closet for a couple of days. When I took it out again, I found that one of the lids was cracked and cracked. The lid did not fall anywhere, did not hit against anything, so mechanical damage is excluded. The wood was simply poorly dried and varnished. Two conclusions:
1) The sale is canceled, because the bowls are likely to go back to the sellers.
2) Here is the main reason why boards and bowls from China are sold in Russia twice as expensive as purchased in China: since a large proportion of boards and bowls come with scratches and other jambs + new problems come out already in place, there are losses compensate by overpricing everything else. Actually, I was told about this in one go-club. Now the approval of Russian sellers has been verified empirically.

Now again at the expense of faience stones. I was able to order some Japanese hamaguri stones here. The stones arrived quickly, outwardly very beautiful, made of the highest quality. I compared them to Korean stones of almost the same size. And I came to the conclusion that the sound when staging them is the same and rather depends on the material of the goban, the appearance differs only in the presence and absence of stripes. The surface is equally glossy, the color is also almost indistinguishable. Conclusion: for the presence of stripes and "canonicity" there is an overpayment every 6 - 10. Of course, the size and alignment of Japanese stones should be better than that of Korean ones. But the difference in price is much higher than the difference in quality. So, personally, I think that the best value for money of all the options considered in the end is with Korean stones.
But this is my personal conclusion. :)

P.S. Especially for the heading "incredible, but true" I throw a link to one of the ads on the TaoBao website. A set of Japanese hamaguri and basalt stones is on sale. Japanese metric size 50. Thickness 14.6 mm (that is, almost spherical). The price per set is 45,000 yuan. To understand how much it is in rubles at the current exchange rate, multiply the given figure by 6. :)
http://item.taobao.com/item.htm?spm=a230r.1.14.325.TbhplL&id=37639753105

Comrades, help me figure it out. I have already mentioned that some kind of incomprehensible white coating forms very quickly on black yunji stones. That is, he literally just removed it with his hands, put the stones in a bowl, poured the stones back, the plaque has already reappeared.
Today I received a set of Korean go stones 1 cm thick. As an experiment, I put 4 black yunzi in a bowl with black faience stones. For some time I played with these stones. And I noticed that there was no longer a raid on those 4 yunzi. I conducted a similar experiment earlier. In the batch of spare type D yunzi, one stone of reduced thickness was found. It fits perfectly into my set of 9mm Korean stones. For about a week, I played almost exclusively with this set. And I noticed that on the Yunji stone, again, there is no plaque. But if you add it with other stones of the same kind, plaque inevitably appears.
So we know that yunji are made of glass. Based on the above observations, we can conclude that with their mutual contact, the same plaque appears and that in other cases it is not. Plaque is removed with a finger movement. The question is: what could it be and how to deal with it?

I'll tell you even more, they came to me processed. They treated them with some kind of machine oil. I've seen yunji in their original form as well. Talc is not rubbed off with a finger. Here we are talking about another raid.
When the stones came to me, they smelled of machine oil. If I understood correctly, it was assumed that they should remain in it. But somehow I was not pleased with the prospect of washing my hands for half an hour every time. Therefore, I preferred to wash the stones with a product. The oil performed the function of cleansing talc, so that the stones after a series of manipulations acquired their befitting appearance. But instead, the same plaque began to appear.

Wash with a product? As far as I understand, it was better to wipe it thoroughly ... Perhaps it is worth repeating the process. As an option, it is unlikely to be worse. First rinse thoroughly with warm water (in case there is a residue of the product), and then, according to the instructions, treat with sewing machine oil and wipe dry.

I ran a sheet of paper. Didn't press. The plaque disappeared. So, the hypothesis disappears. However, she initially did not take into account the experiment with earthenware stones.
In addition, if these were the areas where the oil residues were washed out, then these stains after "wiping" them with your finger would reappear after a few minutes of lying on the table.

I will add one more thing for clarity. White spots on untreated yunji are talcum powder. If I understand correctly (my experience confirms this) something fatty (whether it be sunflower or machine oil, no difference) removes it. In particular, my first set of yunji (back in the last semester) came in this form. After washing with sunflower oil, and then washing off the oil with the product, the appearance of the stones became completely different. That is, there is no talcum powder left. And the periodically appearing whitish traces are already something completely different.

The opinion of a person with a similar problem on Amazon:

Today I tried to rinse the stones according to the accompanying instructions. Several things I noticed convinced me that the item I received was a returned item.

First, the plastic bag for the black stones is noticeably more worn than the bag for the white stones; then while rinsing the black stones, there was oil from the stones floating on the water, which made believe the stones were oiled once. I also discovered two broken black stones. I didn "t mind all these much until the stones have become dry again. After the stones are dry, I see a lot of residue dirts on the black stones! I believe the previous buyer tried to oil them without rinsing them, so the stones got stained with the original powder!

These stains do not seem easy to go, I doubt there is a way to wash them away without side effects. I wonder if these black stones are eligible for replacement, without requiring me to send back the ruined black stones, I don "t like the trouble to repackage and mail them. Maybe I will try to use hot wash them (the broken stones could be useful for experimentation) to see if it works, probably they will never be as good as new stones.

From the white stones which were not ruined by improper oiling, I can see that these stones were actually very nice stones (a four or five star review should have been very reasonable for this item)! What a pity!

TL: DR - Perhaps the problem is in the initially incorrect treatment - immediately with oil, without preliminary washing (or vice versa?). Talc "sticks" to the stones and appears as it dries.
The author believes that the fact that the stones came to him already processed, moreover, is incorrect, is evidence of secondhand.

Recently, I noticed a craving for logic games. However, many individual games take up a lot of space. We will make a multifunctional board for checkers games.

Let's get started.

To make a board, we will need:

• Trimming boards;
• Glue;
• Gas-burner;
• Die;
• Drill;
• Glue;
• Paper;
• Stationery knife;
• Printer;
• Dowels;
• Metal ruff;
• Dye;
• Acrylic lacquer;
• Sandpaper.

From scraps of boards on dowels, we collect a shield.

We mark out the contours of our field. We cut it off.

We pass (not very carefully) the corners and the field with sandpaper.

Then we burn our workpiece with a burner.

You can go the other way, but burnt wood is more suitable for my interior.

We go through a metal brush until the structure is revealed and the required shade is obtained.

We make the chips in the same way, with a drill driving a bar through a die of a suitable size.

Then we cut the resulting cylinder into separate chips. Chips are necessary in my case at least 64 pieces. We skin our checkers and burn them on one side.

Having printed out on a printer, we cut out stencils.

We fill the markings on the fields with paint.

I prefer water-soluble ones, because it dries faster, and after half an hour you can continue to do evil work.

Now we open our board and chip with acrylic varnish.

The moment has come when we can safely use this product.

On such a board, you can play: checkers, reverse, go, 5 in a row, tic-tac-toe, corners, a bunch of other checker-type games, and I want to separately highlight the game abalon (a very interesting tactical-logical game, I recommend it IMHO).

Now you are not afraid of long winter evenings, and on your summer vacation this board will be very useful to you.