Skip to content Skip to a section
The cut

Knife, grain and slicing: tenderness you cut in, not only cook in at : the main line · 371

Look for parallel lines in the muscle — the direction fibres run. On flank and skirt they are obvious; on ribe Cook Knife, grain and slicing: tenderness you cut in, not only cook in to and serve it as “the main line.” The other figure to watch is 1. Do not time a hard-working muscle like a thin steak. Colour before heat is not doneness. A local lens (English-speaking markets)

Look for parallel lines in the muscle — the direction fibres run. On flank and skirt they are obvious; on ribeye they can hide under fat seams. Rotate the board until your knife will cross those lines, not travel along them. When grain changes mid-piece, change your angle mid-carve.

Thin slices suit hot pot, bulgogi-style flash cook and tough-ish cuts. Thicker steaks want fewer, bolder slices so juices stay put until the fork. Brisket and shoulder often want pencil-thick slices across the grain after a rest — thick doorstops fight the collagen work you already paid for.

Carving too early floods the board. A short rest lets temperature gradients ease so slices stay juicier. Keep a sharp knife; a dull edge compresses and shreds. Wipe the blade between fatty cuts so each slice starts clean. Some primals join muscles with different grain directions. Separate along seams when you can, then slice each muscle on its own best angle.

Knife, grain and slicing: tenderness you cut in, not only cook in is cooked with , “the main line,” and 1. Change the thickness and the same figure is no longer the same time.1

Figures to keep

Heat
1
Figure beside it
1
Cut
Knife, grain and slicing: tenderness you cut in, not only cook in
Cooking line
the main line

Marbling across markets: how fat becomes a grade at : the main line · 372Next essayAll 1000 essays1000