The articles have been revised to correct any errors that have been found since their initial publication, and to include new information. I apologize for any confusion that still remains because of repetition of information or conflicts in the details between the various articles. I have tried to remove as many of these as I could find.

FINISHING SECRETS…
General Revision 12-28-2001

1. Introduction
2. The Five Rules Of Sanding
3. Bare Wood?
4. Pens, Watches, and Small Personal Items
5. A Deft Finish Applied On The Lathe
6. Tung Oil
7. "Wipe-On" Varnishes and Oils
8. Varnish Over Deft?
9. Shellac and the "French Polish"
10. Friction Polishes
11. Lacquer
12. Dyes and Coloring

Addendum - (Revised 3-4-2002)

Note:
There is nothing in these articles that is proprietary, and I have no objections to anyone using or copying their content for personal use. If you attach it to a website or include it in a Newsletter article, please give me credit for writing it. I do not like to find someone else taking credit for something that I have written. .

FINISHING SECRETS…

Introduction

"What is the finish?" This is the question most often asked when a woodturner looks at another's work. Everyone wants to know about "finishing", and a discussion on finishing is more popular than any other single subject for a demonstration. Yet, finishing is given the least attention in published articles, videos, or books on turning wood. All too often the presentation avoids the question with a brief instruction to, "apply your favorite finish." The beginning woodturner becomes even more confused when they go to The Home Depot, only to find 600-feet of shelf space filled with products that are made to put a "finish" on wood.
Finishing wood isn't difficult. This series of articles is written to answer a few of the many questions on finishing, and assist those who do not yet have a "favorite finish." I am neither a finishing expert nor a chemist. However, I have used many different finishing products and techniques in sufficient quantity, and for enough years, that I have developed some knowledge of their application and durability. I present this information as, "What works for me". These are my "favorite finishes". Do I use them all? Yes, depending on the shape of the piece, how it will be used, the wood, my mood at the time, and sometimes it is a matter of which is the closest on the shelf.

1. Why A Finish?

The "finish" is the final step. Our work isn't complete until it has a "finish" to protect its surface, enhance its grain, slow the seasonal changes in moisture content, and impart the feeling and visual quality of "completeness". There are many techniques and products to accomplish these ends. Some of these finishes are easier to apply than others, none of them are quick, but all of them will provide a protective coating on the surface of a piece of wood. During the next installments of this series, we will discuss most of them.

2. What A Finish Cannot Do

No matter how long we search or how many products we buy, there are three (3) things that a finish will never do:

· The finish will not cover our turning mistakes, torn grain, tool marks, or sanding scratches. In fact, most finishes will accent them and make them all the more obvious.

· The finish will not stop the natural aging process that makes all wood change color with the passing of time and exposure to air and sunlight. We can slow this natural process with various UV inhibitors, and for a short period of time we will have the illusion that we have stopped it. But, these inhibitors will loose their effectiveness, and over the years the wood will still turn dark. Someone once said, "Concentrate on form, not color or grain, because all wood eventually turns black and the form is all you have left."

· There is nothing that we can put on a piece of wood that will make it something that it is not - waterproof. We cannot give it the properties of glass, ceramic, or plastic.

3. Recommended Reading

We can learn much about finishing from the popular woodworking press because the techniques for furniture can be adapted to our turnings. The books on finishing by Michael Dresdner and Jeff Jewitt are excellent references. They are both available from Taunton Press (Fine Woodworking Magazine) or most of the woodworking mail-order catalogs. I have included their ISBN so they can be obtained from other booksellers.

"Great Wood Finishes",
by Jeff Jewitt
ISBN: 1-56158-390-1, PROD# 070521

"The New Wood Finishing Book",
by Michael Dresdner
1-56158-299-9, PROD# 070429

My personal preference is towards the book by Jeff Jewitt. He works as a furniture refinisher and uses and describes finishing techniques and products that are more familiar to the woodturner. Dresdner is an advocate of shellac, and his book excels in its discussion of shellac. Either would be an excellent reference for the woodturner who wants to learn more about the finishing products that we use.

"Fine Woodworking" had at least one article on some aspect of finishing in every issue for the last two years (2000 and 2001). These articles, by Dresdner, Jewitt, Minick, and others, have covered a wide range of subjects from bees-wax to varnishes and thinners. All would be recommended reading for the woodturner who wants to learn more about finishing.

FINISHING SECRETS…No.2, My Five Rules of Sanding

The following is from the original draft of an article, "Sanding Savvy", published in the American Woodturner Magazine, Spring 1999 issue.

Sanding is important. It is the second of the three steps in the turning process - turning, sanding, and finishing. These steps are not independent. A poorly turned surface will require more time sanding, and a poorly sanded surface will result in a poor final finish.

We are usually overwhelmed with information on turning tools and finishing products. Everyone wants to know about the latest tools and techniques, or the merits of various finishing products and which ones will give them "the perfect finish". But nobody wants to hear about sanding, and very little is ever published about it. In fact, it is more important than the finishing because the final finish will only be as good as the surface on which it is applied.

Sandpaper, The Tool

We can't discuss sanding without some knowledge about sandpaper (or cloth). The commonly used abrasives can be listed in the order of their hardness, sharpness, and durability: Ceramics, Aluminum Oxide, Silicone Carbide, and Garnet. Aluminum Oxide will remove wood faster than Garnet because it is harder and sharper, making a deep V-grooved scratch pattern on the surface, while the softer Garnet wears faster and leaves a pattern of shallow U-shaped grooves. It makes sense to start sanding with Aluminum Oxide and finish with Garnet.

Don't buy cheap sandpaper. The grit designations of sandpaper do not represent a uniform fixed particle size. Rather, they are a range of particle sizes; with the majority of them being the stated size. The number and size of the particles that are different from that designated depends on the equipment and the quality specifications of the abrasive manufacturer. Unless we have access to their product specifications, we have to rely on either price or experience to determine quality. Cheap sandpaper isn't necessarily a bargain because it usually has a broader range of particle sizes within a designated grit size, and it is the big ones that we don't want because they leave deep scratches.

The Five Rules of Sanding

Everything that I know about sanding can be reduced to "The Five Rules of Sanding". These rules will shorten the time between laying down the turning tool and realizing a museum quality finish. Since sanding can't be ignored, we can try to make it an easier task.

Two prerequisites to sanding should be obvious. We can't see in the dark, and we can't work when we can't breathe. Always use a bright incandescent light, the brighter the better, while sanding so that the scratch pattern on the wood surface is clearly visible. Fluorescent light has no shadows, and the surface texture can be almost invisible. Always wear a dust mask while sanding, or better yet, use both a dust mask and a dust collector.

Rule 1 -

Sandpaper is a cutting tool, keep it sharp and keep it clean.

Throw it away when it gets dull. Don't use worn-out coarse grit as a substitute for finer grit. Worn-out 120-grit is just that, and it cannot be used as a substitute for 280-grit.

The spaces between the grit particles are like the gullets of a saw blade. The grit can't remove wood when the spaces are full. Clean both sheet and disc abrasives with a block of crepe rubber. (Yes, it works on sheet when we lay it on a flat surface and rub the rubber block across it). Some turners glue a piece of rubber to a block of wood that is then attached to their lathe. Blocks of natural colored crepe rubber are available through most of the woodworking catalogs, a $10.00 purchase that will last for years. Do not use colored rubber, white rubber, or any caulking materials because they contain dyes and silicones that can interfere with many finishes.

Rule 2 -

Refine the shape, remove all tool damage and torn grain, and repair the surface with as coarse an abrasive as necessary to do the job - BEFORE moving through the finer grits...

The only purpose for all subsequent sanding with finer abrasives should be to refine and remove the scratch pattern made by the coarsest paper. If there is torn grain or other tool damage on the surface, go straight to a 60-grit, and don't fool around with anything finer. It makes no sense to brag about never using anything coarser than 180-grit, and then spend two hours to do the same job that could have done in ten minutes with 60-grit. The finer grit can be used, and for a shorter time, when we have improved our tool handling skills during the turning phase of our work.

Rule 3 -

Sand through all of the progressively finer grits without skipping any of them, and don't quit before 320.

I usually start with 60 or 80, and proceed through 100, 120, 150, 180, 220, 250, 280, 320, and stop at 400, using whatever combination of power and/or hand-sanding that is appropriate to the task. It is much faster to use all of the abrasive grits in the smallest increments possible, than to make large jumps in grit size. This is particularly true at the coarse end of the scale. Of course, we could go directly from 60 to 320 grit if we had a lot of time and sandpaper to waste.

Rule 4 -

Remove all of the scratches and the sanding dust from the previous grit before going to the next finer grit.

This step is faster when Rule 3 is also observed.

Rule 5 -

Slow is good, and slower is even better.

There is a universal tendency to sand too fast. Heat is the enemy. Keep the sanding medium cool by sanding slowly. And, the slower moving abrasive will remove more material than one that quickly "skates" across the wood surface.

Don't spin the piece in the lathe so fast that the paper gets hot. If it burns your fingers, it is also burning the wood surface, and casehardening rather than cutting it. We have all experienced the situation where the sandpaper quit cutting, and it took a coarser grade to break through the surface glaze, only to have the same problem when we used the finer sandpaper. When this happens, slow down. I typically sand with a maximum lathe speed of 250 RPM for most work.

It is very easy to generate too much heat when power sanding because we have no direct touch with the abrasive. Heat will clog the disc, and destroy either the cloth backing or the sponge rubber on the arbor. Just because we have an electric drill with a top speed of 2400 RPM doesn't mean that wide-open is the best speed for sanding.

The slower speed will remove more wood faster, the disc is easier to control, there is very little airborne dust, and the sanding discs will last longer. . I use a 3/8" Black and Decker Magnum drill for power sanding wherever it will reach because it has an excellent trigger control and it will run continuously at less than 150 RPM.

There are many woodturners who will argue that running the disc sander at a high speed while the work is spinning slowly in the lathe, rather than both at a high speed, is the best way to go. To them I say, try running both at a lower speed and see if the sanding isn't just as fast and easier to control. Two other benefits will be less airborne dust and the sanding discs will last longer.

FINISHING SECRETS… No.3, Bare Wood?

We are always looking for a finishing product that will give our turned goblets, drinking vessels, plates, and bowls the same durable, waterproof, washable and food-safe qualities as glass, china, or plastic. But, no matter what we do, our mistakes are more obvious than ever, the finish isn't permanent, and it definitely isn't waterproof. Even an epoxy coating or plastic isn't impervious to water vapor, alcohol, or hot liquids and the surface will develop hairline cracks from expansion of the wood, the finish coating, or both. These will let the liquid under the coating, and it will rapidly deteriorate, look terrible, and our concerns about food safety continue.

Food Safe Finishes?

In my opinion, our search for a food-safe finishing product is a futile one because there really is no such thing. Even a FDA approval isn't an absolute 100% safety statement because someday, somewhere, someone will be found with an allergy to whatever product we put on the wood, or to the wood itself.

We say that all finishes are food-safe after the solvents have evaporated, but many of the hydrocarbon solvents that we use in our finishing products will require several weeks to months before they totally evaporate and are rendered harmless. Try explaining that chemistry to a cautious public.

We have even convinced ourselves that mineral oil is harmless because it has never caused any problem other than an occasional "intestinal distress". Try telling that to someone whose mother used it as a laxative when they were a child.

Bare wood may be the best finishing solution for things we turn for use with food or beverage. Wood has its own natural ability to absorb and become a part of its environment. We can learn something from our ancestors who used wood for food utensils, drinking goblets, and bowls for a thousand years before our modern finishing technology was developed. The wood was preserved because it was saturated with the oils and fats from the foods that were served in them. The wood absorbed its environment and developed a durable and beautiful patina from daily use. Some wood species were avoided when they were known to be toxic.

I find that it is much easier to explain the merits of "no finish" than a "food-safe" finishing product to a potential user. I show them a well used salad or serving bowl, and explain that they, and the foods they serve, are a part of the final "finish" on the wood.

My personal preference is to finish the outside of a useable bowl with a durable finishing product such as Tung Oil/Varnish, leaving the inside as a bare-wood natural finish. A coating of natural beeswax can be used as a safe temporary protection that adds a soft gloss and a pleasant aroma to the wood surface. Richard Raffin recommends using candle wax. Either will rapidly wear away, leaving the wood to develop its own patina through continued use, and the recommended frequent applications of salad oils.

Application of the finish

The following is described as though the work was being done on the lathe.

1. Dry sand through 600-grit following the techniques described in article No.2 of this series.

2. Moisten the wood surface with a "damp" paper towel that has been dipped in water and wrung dry.

3. Allow the wood to dry for several hours to ensure that all of the moisture has evaporated, not just that on the surface.

4. Lightly hand-sand with 600-grit. For a very high gloss surface, follow by hand sanding with 1000, 1500 and 2000 grits in both directions.

5. Repeat Steps 2, 3, and 4.

6. Burnish the surface in both directions with a piece of grocery-bag paper.

7. Apply a coating of beeswax and polish with a soft cloth or paper towel.

FINISHING SECRETS… No.4, Pens, Watches, and Small Personal Items

Pens, pencils, pocket watches, and other personal items are excellent candidates for the "bare wood" finish discussed in Part 3 of this series. Various sources have described the "best" finish as a friction polish, lacquer, shellac, CA glue, epoxy, and other materials. I agree that all will look good when new, and that some will wear longer than others, but all will succumb to the wear and contact with perspiration and body acids from daily use. Some of these finishes may outlast the 24k plating on the fittings, but none will outlast the Titanium-Gold plating on the premium pen fittings.

Consider that the best finish for these personal items may be none at all. The natural wood will develop a patina and a polished oil finish from use and exposure to our body oils. The finish will never wear away; instead, it is maintained and enhanced by daily use and handling. I use Perfect Pen Polish (PPP) by Hut Products as a temporary protection on a highly polished natural wood surface. The wax is removed by wear and replaced with body oils after a short time of regular use, and the transition is unnoticeable.

Finishing Naturally

Turn and sand the pen barrels as described by the parts suppliers' literature, but sand through at least 1500-grit. I usually sand dry to 320, and then wet sand with the finer grits, using Watco Liquid Finishing Wax as a lubricant. Household waxes, such as Johnson's JubileeÒ, are also good for this purpose since we aren't going to apply a finish and the presence of silicones or other ingredients is not a problem. The Perfect Pen Polish (PPP) is then applied as directed on the package with the lathe running at full speed. You will now have a highly polished natural wood surface that has a temporary wax protection. It may not have the most surface gloss now, but it will be the best looking after several months of daily use.
Soft, porous, or cracked wood can be hardened and stabilized with thin CA glue after dry sanding with 320-grit. An applicator for the CA can be made by covering a strip of 1" masking tape about 1½" long with synthetic batting (available in any sewing supply store). Then wrap another piece of tape around the center, leaving a ¾" long applicator on either side of the tape handle. The batting material has no reaction with the CA glue, while the cellulose in either paper towel or cotton cloth acts as an accelerator. Then resume sanding with either 280 or 320 to remove all of the CA on the wood surface because it is being used as a filler, not as a finish.

Plastic Pen Barrels

There are many acetate and acrylic materials, such as crushed Velvet, available for turning pen barrels. These plastic materials require somewhat different turning and finishing techniques from wood because of their low melting temperatures. It is an absolute requirement that NO heat can be generated during the turning, sanding, or finishing of plastics. Judging from the poor quality of finish that I often see on these materials, many turners are not aware of this difference between wood and plastic.

Use a very sharp tool for turning, and watch the chips that are being formed. The chip should curl off the tool in a continuous flowing unbroken ribbon. If it is breaking up into little balls, the plastic is getting too hot in the cutting area and it is melting. Use a slower lathe speed or take a lighter cut with a tool that is honed to a keener edge, sometimes both are needed. If the problem persists, wipe the surface with a little kerosene before turning each pass. The smoke that is generated will prove that the kerosene is doing its job.

Sanding Plastic

Wet-sand the barrel, using kerosene as the lubricant, at a medium lathe speed no faster than about 600 RPM. Finish with 600 grit. Then run the lathe a bit faster, but not over 1200 RPM, and wet-sand with Crocus Cloth, again lubricated with kerosene. Keep the surface very wet to prevent any heat from ruining the surface finish. Crocus Cloth has a 1200-grit jeweler's rouge abrasive on a cloth backing.

Wipe the surface clean. If it isn't highly polished, or it has circular sanding-type rings, the surface got too hot. Start over at a slower lathe speed, and use more kerosene.

Wax is an optional step to give some temporary protection to the surface. If you wish to use a stick-wax product, use only the white (or light colored) PPP by Hut Products. The dark wax has abrasives that aren't needed after using the crocus cloth. DO NOT use a hard carnauba wax stick such as Libron, regular Hut, etc. They are too hard and their melting temperature is so high that they can melt and "drag" the plastic surface before they start to flow. The PPP has a lower melting temperature that will not damage the plastic.

Cocobolo and Ebony woods respond very well to the same sanding and finishing treatment as the plastic.

FINISHING SECRETS… No. 5, A "Deft" Finish Applied On the Lathe

The following is from the original draft of an article that appeared in the fall, 1998 issue of the American Woodturner.

This is a true low-to-no gloss finish that I use on nearly all of my turnings. It can be used either "as is", or as a base for a Tung-varnish-turpentine blend. Yes, they are all compatible, and everything is available at the local Home Depot, Eagle Hardware, etc. The finish can also be applied on the bench, but we will have to rub harder and faster.

Three Secrets To A Good Finish

The 1st Secret - there is no such thing as a "quick finish".
This one is no exception. While the Deft lacquer is quickly applied, the surface sanding and preparation will take a considerable amount of time.

The 2nd Secret - the more we sand, the more we need to sand.
As the surface becomes smoother, the smaller the scratches and blemishes that we can see.

The 3rd Secret - the entire surface must have the same preparation and finish. Once a sanding and finishing sequence has been established, all of the steps must be repeated whenever we go back to a coarser grit to make a surface repair. If any steps in the sequence are skipped, that area will stand out after the final finish is applied because its texture and absorbency are different.

THE 8 STEPS TO A "DEFT" FINISH

The following steps for finishing are described as being done with the work being mounted on the lathe. The same steps are followed for finishing the piece off the lathe; we will just have to rub faster to achieve the same results.

Step 1
Thoroughly sand all surfaces using any combination of power and hand sanding. Don't skip any grits. I power sand with a 3" disc on outside and a 2" disc on inside curves using 80, 120, 180, 220, 280, and 320 grits, always cleaning and checking the surface before moving to the next finer grit. Then, with the lathe off, I hand sand with 320 grit to remove any remaining sanding scratches from the coarser grits.

Step 2
Apply and leave a heavy coat of Watco Liquid Finishing Wax to accent and slightly raise the grain. It also accents any surface flaws.

Step 3
Hand-sand with 400-grit wet/dry, with the lathe OFF, while the wax is still wet. Wipe the surface clean. Continue rubbing until any residual wax has dried. Running the lathe helps.
Step 4
With the lathe at 500RPM; burnish the surface with a piece of grocery bag paper.

Step 5
With the lathe OFF; apply a full sloppy coat of Deft® semi-gloss lacquer. I use a soft mop-brush (see Craft Supplies catalog) and sometimes a paper towel. Gloss could also be used, but I prefer the semi-gloss because its solids seem to act as a fine grain filler.

Step 6
Wait about one (1) minute, rotating the lathe occasionally by hand. Then remove all of the Deft® with soft paper towels, changing as they become wet and sticky. If the surface starts to dry, dampen a towel with some thinner and continue rubbing.

Step 7
With the lathe running at 500 RPM; burnish the surface with a clean paper towel. Generating a little heat helps melt and flow the lacquer onto the surface. The finish will now be dry.
Then, with the lathe OFF, lightly buff the surface with a gray ScotchBrite® pad, fine Bronze Wool, or 0000-steel wool to remove any traces of dried lacquer and circular marks from the surface. I prefer to use Bronze Wool because it cuts better, leaves a smooth scratch-free finish, doesn't stain light colored woods, and is totally oil-free.
If this will be the final finish, we can apply a second coat by repeating Steps 5 through 7. Just don't wait before wiping the surface in Step 6.

For a bit more gloss, the surface can be polished with Rottenstone, applied with Lemon Oil or thinner Mineral Oil and a felt pad. Lemon Oil polish is lemon scented mineral oil. Clean and polish with a soft cloth (old T-shirts are perfect).

Step 8
Apply 2 coats of a good quality paste finishing wax. I use Trewax® because it is durable, polishes easily, and fairly resistant to water spotting - all at a reasonable cost.

The piece is finished. Remove it from the lathe and finish the bottom.

FINISHING SECRETS… No.6, Tung Oil

Pure Tung Oil provides a hard and tough surface finish that is absolutely waterproof; impervious to dust, alcohol, acetone, fruit and vegetable acids; and it doesn't darken with age like Linseed and other vegetable oils. All of these benefits come at a price - pure Tung Oil takes forever to dry, it doesn't penetrate the wood surface very well, and it is expensive when compared to other drying oils. Tung Oil is a "reactive" finish, commonly called a "drying" oil, in that it will dry and harden when exposed to air.

Everyone asks me about Tung Oil, but nobody wants to use it because Tung Oil is not a fast finish. It takes a lot of time. But, it is a simple and forgiving finish, and when done properly, its beauty is unmatched. Sometimes we try too hard to avoid the slow and simple things in our modern high-tech lives.

I have used the stuff for years and I can share what I have learned.

Other oils are commonly used in finishes because they are less expensive. Linseed, Soybean, Walnut, Sunflower, Orange, and other fruit, nut and vegetable oils are oils that make suitable finishes for wood. Linseed and Soybean Oil are most often used in commercial finishes. Although neither are a natural "drying oil", the addition of metallic drying agents make them suitable for finishing.

Mineral Oil

There are enough questions asked about Mineral Oil that it deserves a separate comment. Mineral Oil is a petroleum product that will stay in a "tacky" state forever. Any finish whose solvents will dilute the Mineral Oil can be applied over a coating of Mineral Oil that has been previously applied to the wood. However, the Mineral Oil combines with the finish and acts as a plasticiser, and the resulting finish will be softer and less durable than it would be without the oil.

Many woodturners use Mineral Oil followed by beeswax for salad bowls, with the result being a softer wax coating than if the wax were used alone. A more durable beeswax finish would be realized if the wax were softened with turpentine for easy application. After the turpentine has evaporated the remaining coating will be pure beeswax, not one that has been softened by Mineral Oil.

A personal opinion that may not be shared by many others is that - If you wouldn't put motor oil on your wood, why would you use Mineral Oil? Mineral Oil is a more highly refined form of motor oil.

Linseed Oil

Linseed is a common finishing oil and it is available as either "raw" or "boiled". Our discussion would not be complete if it were not included. "Raw" Linseed Oil is just what the name implies, pure linseed oil without any modification or processing. It is a poor finish because it is not a natural drying oil. "Boiled" Linseed Oil has metallic drying agents added to make it suitable for use as a finish. It may have many properties that are similar to Tung Oil, but it turns darker faster than Tung, and it is neither as hard nor as durable as Tung Oil. For these reasons, I don't believe that it not a suitable finish for a piece of turned wood.

There are several modified and partially polymerized forms of Linseed Oil available as a finish. These are sold as Tru-Oil (available as a gunstock finish for many years), Tried and True, Velvit Oil, and probably others as well. Other than drying faster and being slightly more colorfast than Boiled Linseed Oil, I have found no benefits to their being used over any other linseed oil products. A product such as the Minwax Antique Oil Finish will give the same results at a far lower cost.

Modified Tung Oil

Tung Oil is available in pure, modified, and polymerized form. The modified form is what is found in the commercial finishes that contain Tung Oil. Metallic dryers and thinners are used to improve the slow drying rate and poor penetration of pure Tung Oil. Less expensive oils such as linseed, soybean, and other vegetable oils are often substituted for some portion
(sometimes all) of the Tung Oil to reduce the cost. Every effort has been made to make a product that is easy to use, dries quickly, and sells at a competitive price. The problem is that none of the characteristics of pure Tung Oil have been retained. These products have made "Tung Oil Finish" a generic term. Many of them do not contain any Tung Oil. Others may contain a small amount that is hidden in the small amount of varnish that is included as an ingredient. Still others use polyurethane varnish resins and they contain no Tung Oil at all.
The commercial oil and oil/varnish finishes will be discussed in Article 7 of this series.

Pure and Polymerized Tung Oil

The only difference between "pure" and "polymerized" Tung Oil is that the latter has been through a cooking process to partially complete the molecular cross-linking that occurs in a drying-oil. These are often referred to as "partially polymerized" oils.

While pure oil is very slow drying, the polymerized is fairly fast drying because much of the drying time has been used up in the "cooking" process. Both forms are difficult to store. After about a year or two, depending on the humidity, temperature, and exposure to light, they will start to form a film on the surface or a gummy deposit around the edges of the container, and at that time they have to be tossed out. Bloxygen or collapsing storage bottles are recommended for storage.

I know of several sources for the polymerized Tung Oil. Sutherland WellesÒ brand is available from Garrett Wade, Lee Valley Tools, or direct from the manufacturer. It is sold with various quantities of thinners, but the 50% solids ratio is recommended for our use. Add turpentine to thin it and improve penetration for the first (only) coat. After that, use it as it comes from the can. The latest price is about $34 for a quart. Visit their website at
http://www.sutherlandwelles.com/

A less expensive source is a product from Woodworkers Supply in their proprietary JEMoserÒ brand. It is called "Polymerized Tung Oil Varnish". The high gloss mix contains 45% solids. It is an excellent product that sells for $17 per quart, half the price of the S-WÒ brand. Don't worry about the word "varnish" because this term is in common use for anything that develops a surface film.

I used to buy a "Jasco"Ò brand of Tung Oil, which was polymerized, contained something like 50% solids, and was sold by True Value Hardware. It has since disappeared, but may be available as a special order item from them.

Because of the price and availability, I have also used a lot of 100% pure Tung Oil. It is slower drying, but this can be improved with thinners. I usually use Turpentine, but other thinners can also be used. VM&P Naphtha dries faster than turpentine, and 1-K Kerosene is slower to evaporate. Tung Oil loves to be rubbed, and the more heat generated the faster it dries. This makes it a great "friction polish" for lathe finishing.

The best pure Tung Oil that I have used is available from Daly's in Seattle at their Stone Way store where they mix all of their products. They will go in the back and draw a quart from the bulk supply that they are using. It is the freshest that I have ever used, and costs about $15 for a quart. I have never been able to talk to their chemist, but I believe that it is partially

polymerized as well. At least it behaves that way. Other brands that I have used are "Old MastersÒ" or "Hope'sÒ". The OM has served me well over the years and I have always preferred it because the in-store stock has always been fresher.

When applying polymerized Tung Oil, I do a few things differently from the directions on the can. After sanding to 320 dry, I apply a liberal coat of Watco Liquid Finishing Wax, and then wet sand with 400-grit, wipe it off, and allow it to dry. ALL of the surface blemishes will be amplified, and the little surface wax that remains will act as a lubricant when I go back to clean them up.

Then I apply a brushed on coat of Deft Lacquer as a sanding sealer. You may want to use Park'sÒ brand Lacquer Sanding Sealer. I avoid the commercial sealers because they contain opaque zinc-stearate fillers that can mask the grain color and pattern. After sanding to at least 600-grit, I apply a heavy coat of Deft, and immediately wipe it dry with paper towels. Then I leave it to dry for a few minutes, then buff the surface with 0000 steel wool or the gray ScotchBrite, and then repeat the application if there are any rough spots.

Then I apply the oil with a soft cloth. Polymerized is used straight from the can. Put on a thin even coat, and avoid overlaps, if possible. DO NOT wipe it dry as instructed on the can. Let it set 24 hours, or until dry. Truly dry will take three weeks, but it will be cured enough to re-coat when it feels dry and comes up as a white powder when buffed with 0000-steel wool.
Sand after each coat with 0000-steel wool, and apply 4 or 5 coats. Leave the final coat alone. I apply as many coats a required to get the gloss that I desire, and then apply one more.
The only difference when using "pure" is that I thin it to a 4/1 ratio of thinner/oil for the first coat. For subsequent coats, I reduce the ratio of thinner to oil to 2/1 or 1/1, whichever is required for it to flow smoothly in a thin even coat without lines. Other than that, it is applied the same way as the polymerized, except that I don't worry about overlapping, and just keep rubbing until the piece is covered. It does take significantly longer to "dry". I always cure it overnight in my dryer box with the light bulb sized for about an 90°F inside temperature.

FINISHING SECRETS… No. 7, Using Wipe-On Varnishes and Oils

A wipe-on varnish is an ideal finish for the woodturner. It is easy to apply, very forgiving, easy to repair, and gives the wood a durable protective film that is not easily damaged by water, food acids, body oils, or solvents. The only negative to using varnish as a wipe-on finish is the time that is required to build a high gloss surface film. The "blotchy" discoloration associated with varnish and oils is eliminated with the use of a sealer before the application. Discoloration, darkening and yellowing with age are the result of the resins and oils that are used, and this can be corrected to a large degree with selection of the varnish resins and oils that we use.

As a straight oil finish, Tung Oil develops a hard surface that is waterproof, doesn't darken or turn yellow with age, and doesn't discolor the wood. But, it doesn't penetrate the surface very well, it takes forever to dry, and is more expensive than other oils. Partially polymerized Tung Oils solve the drying problem, and thinners can improve its penetration. However, these products are expensive and can cost as much as $30.00 for a quart. Linseed, soybean, and other vegetable oils offer faster drying and better penetration, but they also turn very dark with age, many become rancid, they are not as durable, and they must be periodically renewed. They are also are far less expensive than Tung Oil.

The Varnishes (a very brief summary)

There are four types of varnish - alkyd, polyurethane, spar, and quick-drying. Any of these varnishes can be substituted whenever we mention "varnish" in this discussion.

Alkyds are the traditional varnishes made from a polyester resin. For a crude reference, think of polyester as the resin that is used in Fiberglass®. These varnishes are durable, flexible, resistance to abrasion, have good adhesion qualities, resistant to discoloration from UV and light, and are relatively less expensive than the other varnishes. Their only negative is that they are very slow drying and will take 24-hours to dry sufficiently for recoating. For this reason alone, the alkyd varnishes are becoming difficult to find as a furniture finish, but their superior qualities make them the choice for floor finishing varnishes.

Polyurethane varnishes have replaced the alkyds for only one reason - they dry and cure faster. They are also more water resistant. But, several of the benefits of the alkyds have been sacrificed. Polyurethane varnishes are not light and UV resistant, and therefore will turn "yellow" rather quickly. They can also have adhesion problems.

Spar varnish is a formulation of phenolic and alkyd resins in Tung Oil. Another crude comparison would liken phenolic resin to Bakelite®. Spar varnish is a relatively hard finish with superior water resistance and flexibility. It has a good resistance to damage from either acid or alkali substances or deterioration from light and UV. Unfortunately, it is very slow drying and it has a naturally deep yellow color.

Fast-drying, or VT, varnishes have been modified with styrene resins to produce a very fast drying time that is similar to that of a nitrocellulose lacquer. This speed came at the sacrifice of the protective properties found in the other varnishes.

Which Varnish?

It should be obvious from a comparison of the properties of the various varnishes that we should be using either alkyd or spar for our woodturnings. Either will offer the flexibility to move with the wood as it changes with seasonal moisture changes, and provide the durable surface protection required for an item that will see frequent handling over a period of many years. Although I have preferred the alkyd varnishes for many years, it has become difficult to find as a furniture finishing product. However, it is readily available as a floor finish, but usually in nothing less than a 1-gallon container. I started using spar several years ago because it was easier to find. I have not found it to be superior to the alkyd as a finish for turned wood.

Many woodturners prefer the higher gloss from fewer coats and faster drying of the polyurethane varnishes. I don't use them because I don't like their plastic appearance. They may be faster drying, but adhesion can be a problem, and they turn yellow and deteriorate with age and exposure to light. The manufacturers have added a variety of ingredients in an attempt to solve these problems, but they have only succeeded in reducing them while increasing their cost.

Gel Finishes

These finishes have been promoted as "the answer" to our wood finishing problems. Gel finishes are the polyurethane varnish resins without the liquid solvents. These are the solids that will settle to the bottom of a can of poly-varnish. These finishes will give a more uniform surface coloring because they do not penetrate as deeply into the end grain as the liquid varnishes. Other than that, they have all of the same characteristics associated with any other polyurethane varnish. Bartley'sÒ and General FinishesÒ are the most recognized brand names.

Wipe-On Varnish Finishes

Our preference should be a varnish based finish that can be applied with either a rag or a paper towel, rather than by a brushing or spray application. Any varnish can be used as a wipe-on finish with the addition of 50% thinner. The addition of oil will help it flow out into a thin uniform coat. The amount of oil will influence the flexibility of the final surface finish and the drying time of the finish, more oil is more flexible and takes longer to dry. If too much oil is used the finish will be soft.

The quantity of oil in the finish is often referred to as being a long, short, or medium oil finish. Commercial varnishes as they come from the can are a "medium oil" varnish with about 50% oil. A typical wiping varnish is a "very long oil" varnish with 75% oil.

The oils that can be added to the finish are discussed in the previous Article No. 6 in this series.

Commercial Oil/Varnish Products

We will begin this discussion with the commercial products because they are where most woodturners go for this type finish.

Regardless of their advertising claims, all of these commercial finishes are the same - a mixture of varnish resins, some type of oil, and thinner. Danish oil doesn't have the varnish resins. Most manufacturers have sacrificed finish quality for a product that is easy to use and fast drying. Most of them have added metallic drying agents to increase their cure time, and compensate for vegetable oils that are not a natural "drying oil". All of them contain a very large amount of thinner and a relatively small quantity of varnish and oil.

Although the manufacturers recognize the superior qualities of Tung Oil in a finish, many do not contain any Tung Oil at all. Regardless of their labeling, "Tung Oil Finish" has become a generic term for any oil finish. I have heard claims from other woodworkers that some of these do contain Tung Oil, but absent any list of ingredients on the label, I can only assume that they do not. There is nothing wrong with these products if they will produce an acceptable finish for you. I object to the false advertising and labeling, and prefer to not use anything with "secret" ingredients.

I can recommend the following commercial products on the basis of personal experience. There may be others in the marketplace that just as good, but I have yet to find them.
· Daly's Sea-Fin Teak Oil is a Tung Oil finish that is widely available in the Northwest. In recent years their distribution has increased, so it may be available in other areas. In my opinion, it is the best of the commercial wipe-on products. It is easy to get a good finish when the directions printed on the label are followed.

· WaterloxÒ is a nationally available Tung Oil product that is similar to Sea-Fin. It is generally available only through the mail-order catalogs. It is available as either the "Original" or as a "Marine" finish. Other than the "Marine" costing $10 more per gallon, I have never found any difference between them. Buy the "Original" because it is cheaper.

· Gillespie's Tung Oil Finish is an excellent Tung Oil finish that is not quite as good (personal opinion) as Sea-Fin or Waterlox, but it is usually available at most paint specialty stores, Home Depot, Lowe's, and similar retailers. stores.

· Hope's Tung Oil Finish is an excellent product that I have not used for several years because it is difficult to find, and when I have, the stock was very old. If you can locate fresh stock, try it. You will be pleased with the results.

· Watcoâ Teak Oil Finish, in the can with the blue label. While it is a Linseed Oil finish with UV inhibitors added, its finishing properties are considerably different from the more familiar Watco Danish Oil in the can with the brown label. If you have sworn-off on Watcoâ products because of things you have heard, or have had bad experiences with them, then try this one. I think that you will like it. Even the Danish Oil has improved since ownership by Flecto has returned it to its original formula.

My Home-Brew Oil/Varnish Finish

I mix my own oil/varnish because I have control of the ingredients, it is always fresh, and it is less expensive to use than commercial products that contain less than 20% finishing solids. $30.00 a gallon is a lot to pay for something that is 80% mineral spirits or other thinners. My opinion may be somewhat biased because I learned to mix my own finishes before any of the commercial mixtures were available.

I use a mixture of equal parts 100% pure Tung Oil, Varnish, and Turpentine. The proportions aren't critical. If there is any error in the proportions, it should be towards a lesser amount of oil, and a greater quantity of thinner. Additional oil will improve its wiping properties, but it will also increase its drying time.

In my opinion, McCloskey's, "Man'O War", Gloss Spar Varnish (in the red can) is the best varnish on the market for turned wood. It has all of the benefits of a spar varnish because of its Tung Oil, phenolic, and alkyd resins. Its only disadvantage is that it is more expensive than other varnishes. I have always preferred the traditional alkyd varnishes for furniture and turned wood, but they are getting difficult to find, and I have limited experience with the floor finishes mentioned earlier.

Pure Gum Spirits of Turpentine are used for the thinner because the natural oils become a part of the finish and enhance the qualities of the varnish. . Other thinners do not become a part of the finish. Turpentine substitutes are nothing more than an expensive form of Mineral Spirits (paint thinner) that evaporates more slowly.

Either 1-K kerosene, VM&P Naptha, or Mineral Spirits can be substituted for the turpentine. Naptha dries faster than Turpentine, Kerosene dries slower and mineral spirits dries only slightly faster, but also gives the mixture a shorter shelf life. None of them impart anything to the finish. The new odorless Mineral Spirits is not "odorless" and it is more expensive.

I use whatever good quality 100% Tung Oil is available at the local paint store because I like to inspect the cans for signs of aging before buying. Old Master'sÒ and Hope'sÒ are the brands usually available, and both are good quality. Boiled Linseed Oil can be used, but the resulting finish is softer and it will become darker faster than with Tung Oil. Changing the oil that is used to a 50/50 mixture of Tung Oil and Boiled Linseed Oil seems to better enhance the grain in highly figured wood such as Maple.

Wipe-On Application

The wipe-on, wipe-off, wait, buff with steel-wool, and repeat, application is familiar to nearly all woodturners who have ever used a commercial finishing product such as Watco Danish Oil. A "finishing-ball" is easier to use than a paper towel, and it doesn't fall apart. Prepare the ball by making a golf ball sized wad of cheesecloth, and then wrapping it in a 6" square of cotton cloth. A sheet of paper towel that has been folded into as small a square as possible can substitute for the cheesecloth.

A paper towel works well for small projects, and Viva is the softest and most lint free that I have used. I fold the towel twice in the long direction, and then roll it as tight as possible to make an applicator that will keep my fingers out of the finish.

The directions for application are simple-

1. Apply a heavy coat of finish and keep it wet for several minutes. Sand the first coat with 400-grit wet-dry, and the second with 600-grit, to form a slurry that will act as a grain filler. Add more finish as it starts to dry. Sanding is omitted after the second coat. .

2. Wait a few minutes until it becomes tacky.

3. Remove all of the finish with a soft cloth or paper towel.

4. Wait overnight.

5. Buff it back with steel wool

6. Repeat Steps 1 through 5 as many times as required to achieve the desired gloss. I apply as many coats as needed to leave a glossy finish after waiting overnight, 5 or 6 depending on the wood, and then add one more.

Wet Sanding Application

An alternative application is sanding with wet/dry paper while the piece is spinning on the lathe, using the finish as the lubricant. I dry-sand through about 150-grit, and then wet-sand starting at 180-grit and continue through 600-grit. Wipe the slurry from the wood surface before going on to the next finer grade. When you are done sanding you are done finishing. Let it dry overnight and buff with steel wool.

Submarine Application

This works very well for small articles - weed-pots, vases, etc. After dry sanding, submerge the piece in a container of the finishing liquid for at least 1-hour or until it is saturated. Allow it to drip dry. Set it aside for several days until the finish is completely dry. If necessary, wipe off any excess that refuses to dry. Then buff it with a soft linen wheel that has been charged with a little Tripoli compound, followed with a wax buffing. The buffing wheels that are specifically made for wood finishing are the best. However, any hardware store cotton wheel can be used when nothing else is available. I always recommend using one of these first, then ordering the expensive wheels from Craft Supplies after determining that you want to continue using this finishing method.

A suitable mixture for this type of finish application can be made from 1-gallon Boiled Linseed Oil, 2-gallons Turpentine or Paint Thinner (Mineral Spirits), and 1- quart varnish. Use equivalent smaller quantities if you don't to make it in a five-gallon bucket. Add ½-cup of Japan Drier if you want it to cure faster when the shop temperatures are below 65°F at night. This is not an ideal finish, but it is inexpensive, and just a good as Watco or other Danish Oils. It is also an excellent preservative finish that is better than anything commercially available for wood decks and outdoor furniture.

Water Borne Finishes

I don't use any of these finishes because I don't like the results and because they are constantly changing. These finishes could have a lot to offer. They could solve many of the problems that are associated with traditional varnishes and oils because they penetrate well, do not discolor the wood, and have a hard durable surface film that is clear and will not change color with age.

However, water borne finishes have a "bluish" tint and poor reflective qualities that leave the wood with a "muddy" appearance. And, they will not enhance the wood grain like an oil. They will raise the grain, but that is a minor problem. The manufacturers have added soluble oils and other ingredients to reduce the effects of these problems and make them behave more like the traditional finishes. So far, they have not been successful. Meanwhile, the products are constantly changing as the manufacturers change their formulations, making it difficult to get consistent results from inconsistent products.

The manufacturers have created another problem for themselves by calling their water borne products by the same names as the traditional finishes. Then they have taken on the task to make them behave the same when they are not and never will be. Some brands have disguised the fact that their product is water borne, and we have to read the fine print on the back of the can to determine that water is actually used for clean-up.

FINISHING SECRETS… No.8, Varnish Over Deft®?

I am often asked two questions, "How can I use a varnish or oil finish without getting a blotchy appearance, dark spots, and yellowing?" and "Why do you always use Deft® before applying a varnish finish?" The simple answer is that the second question is the answer to the first.

Varnish

I like the durability, ease of application, feel, and appearance of varnish. But, there are many problems associated with varnish and oil finishes on turned wood - uneven color, orange color, and a darker coloration of end grain and soft areas. All of these problems are caused by the different amounts of finish that are absorbed into end-grain, flat-grain, and softer wood.
Many finishers advocate using a thin coat of shellac or commercial sanding sealers to prevent these problems. I prefer to use Deft® because it hardens and seals the wood and accents the grain without discoloring the wood or leaving it with the muddy appearance that we get from sealers containing fillers.

Any of the commercial or homebrew varnishes and oils can be used over Deft. The wiping varnish that I prefer is the home-brew blend that was described in the Part 7 of this series.
Applying the Deft and varnish finish

The Deft finish that was described in Chapter-3 is modified to include an application of varnish.

1. Sand through 400-grit or finer.
2. Apply a thick sloppy coat of Deft.
3. Let it sit for no more than 30-seconds (less if it dries faster)
4. Wipe it all off. Change towels frequently
5. Buff the surface with a paper towel until it is dry to the touch. Change towels frequently
6. Cut it back with 0000-steel wool if necessary
7. Immediately apply a coat of the wiping varnish
8. Wipe it dry after the varnish becomes tacky.
9. Wait until the next day.
10. Cut the surface film back with 0000-steel wool.
11. Repeat Steps 7, 8, 9, and 10 several times until the surface develops a gloss.
12. Then repeat one more time, but omit step 10. It is finished.

FINISHING SECRETS…No. 9, Shellac and a "French Polish"

Thus far, this series has described the use of oils and varnishes for a finish that can be best described as a "soft gloss". But, these finishes can leave something to be desired when we have a piece of wood with a highly figured or a complex grain pattern that is best displayed with a deep high gloss finish. We could achieve this high gloss surface with multiple coats of varnish that is then sanded and polished, but it will never be as brilliant or have the depth of a French polish (shellac) or high gloss lacquer.

Shellac is an excellent finish, but one that is normally thought as easily damaged by water, alcohol, and food acids. This reputation is not deserved because pure shellac is nearly waterproof, and damaged only by very strong alcohol and acids. To prove this, drop a shellac flake in a container of water and it will not dissolve. Put it in your mouth, and the acid in your saliva will dissolve it.

Shellac is totally "food safe" and it is used in many prepared foods, and as a coating for candies and medicines.

The traditional French Polish uses pumice fillers, shellac, and oil that are applied with a wool ball wrapped in linen. The techniques are complex, time consuming, and hard work. However, we can take advantage of modern materials and the lathe. While the total effort is much less, this method of application is most suitable for pieces that are turned-all-over and that can be finished on the lathe. We could adapt these same techniques for "off the lathe" with muscle power replacing the horsepower. However, for "natural edged" and other pieces with unfinished areas, I prefer to use the gloss lacquer finish described in the article No. 11 of this series.

The French Polish, as described here, is one of those techniques where a 15-minute demonstration takes the place of an entire book. I will attempt to explain it in a few paragraphs.

The Shellac

The commercial pre-mixed shellacs contain preservatives, water, and wax to extend their shelf life while making the shellac less desirable and durable for finishing. However, dry shellac flakes have an infinite shelf life, and by mixing your own, it is always fresh. I use "Super-Blonde" or "extra pale" flakes because of their light color. I fill a graduated pint Mason jar to ¼ with flakes, then fill to just a bit over 1/2 full with denatured alcohol. This is roughly the equivalent of what the trade calls a 2-pound cut, or 2-pounds of shellac flakes in one gallon of denatured alcohol. I de-wax all shellac by letting the mixture set for several days until any wax settles out as a cloudy layer in the bottom of the jar, then decant the clear liquid into a clean jar and throw away the remainder. I treat all shellac flakes the same because they often contain a small amount of wax residue, even though they may be labeled as "dewaxed". This is particularly true of less expensive flakes.

The shellac will have a shelf life of 2 to 3 months after it is mixed, so I always date the container after mixing, and test before using. The test is simple - place a drop on the surface of a piece of glass, and wait overnight. If it is brittle and pops off of the surface, it is OK to use. If it is rubbery, throw it away. There is no way to resurrect old shellac, so don't even try.

The Applicator

Use a small piece of new terry velour toweling as an applicator. The velour will form a smooth uniform glaze on its surface, eliminating surface lines caused by the fabric texture. It doesn't have to be white, but it has to be new. A washed towel will have a residual detergent deposit that will interfere with the finish, and the clothes dryer will harden the ends of the cotton fibers.
For bowls, I make a ball from either a piece of cheesecloth or a single sheet of VivaÒ paper towel, and wrap it in a square of the velour toweling. For spindle turnings, I cut strips about 1" wide and 6" long, and fold them in half with the velour side out, making a double-sided applicator.

The ball can be reused by storing it in a closed container with about ¼" of denatured alcohol in the bottom. This prevents having to break-in a new one every time you apply the finish.

The wood

The wood surface must be as close to perfect as you can get it. The high gloss will accent every hole, rough spot, scratch, or tool mark. Deep scratches can be telegraphed to the surface and magnified. Sand in both directions to at least 600-grit, and 1500 o 2000 is even better. Dampen the surface to raise the grain, and lightly sand again starting at 600-grit.

The Preparation

Hard and closed grain woods like Maple need no other preparation then sanding. Porous or open grain will benefit from a sealer. Pumice was traditionally applied with oil for a grain filler and sealer, but that was before CA glues were invented. Apply the CA glue, and then sand away or all of the surface film because we are using it as a sealer, not as a finish. I apply an even coat of thin CA with a wad of synthetic batting stuck to a piece of masking tape to keep it off of my fingers. The cellulose in paper towels and cotton products acts as an accelerator.

The Oil

The oil is used as a lubricant between the applicator and the surface. There is an ancient controversy over whether any oil remaining on the surface should or shouldn't become a part of the finish. Many French Polish techniques use drying oils such as boiled linseed, walnut, tung, etc., and some finishers may even add them to the shellac, For my own finishing, I have never been able to decide between mineral oil, which doesn't, or linseed oil, which does. So, I use both. Which one depends on my mood at the time. Sometimes I give up and use Mystery Oil just to prove to myself that it really doesn't matter. I think that I have had better results with mineral oil that was thinned with a little kerosene.

The Application

Decant the shellac and oil into small squeeze bottles. These are handier than trying to pour small quantities from a can or jar.

Put a small amount, about ½ teaspoon, of shellac on the applicator pad or strip. Surround the shellac on the pad with a ring of a similar quantity of oil. If using the strip, fold it in half and place the oil next to the shellac.

Running the lathe at a moderate speed, hold the applicator pad so that the shellac is applied to the surface with the oil following immediately behind it. It will get hot. If it tries to grab the applicator pad away from you, add a little more shellac and oil. If it doesn't get hot, there is too much oil on the surface and it needs to be removed with some soft toilet tissue. Add more oil and shellac only if necessary, less is better. Then, go back in the opposite direction with the oil part of the applicator again trailing the shellac. Repeat no more than five (5) times, adding shellac and oil as required. The new surface will be quite soft, and it will start to drag if too many coats are applied.

A second application of five (5) coats of shellac will "deepen" the finish and improve its gloss. Let the shellac dry overnight before making another application. Remove any excess surface oil with a clean velour pad or soft toilet tissue, and buff the surface with 0000-steel wool.
Once mastered, it is a relatively easy finish to apply. But, it will take a lot of practice to get the right combination of lathe speed, amounts of shellac and oil, and application technique. The reward will be a higher gloss than you ever thought possible.

The Final Touch

We should wait at least a week, preferably two, before handling the finished piece. The shellac is very soft immediately after it has been applied, and is easily damaged or abraded from handling. Shellac will continue to dry and harden for up to a year, depending on the environment.

The surface gloss can be improved after the finish has sat for several days. Add a small amount of straight denatured alcohol to a new applicator pad, and lightly whisk it across the surface. Do Not rub, because this will soften the shellac and damage the gloss.

If you can't live with any circular ridges that may remain in the surface finish, they can now be removed with 0000-steel wool, rubbed across the ridges. To restore the gloss, polish the surface with 4F pumice, followed by Rottenstone, using the velour cloth as an applicator and raw linseed oil or mineral oil as a lubricant.

Apply a coating of paste wax for protection of the surface. Beeswax, TrewaxÒ or MinwaxÒ finishing waxes are good for this purpose. Do not use a stick wax because the heat required to melt the wax will damage the shellac surface.

FINISHING SECRETS….No. 10, Friction Polishes

These finishing products are an attempt to get quick and easy "French type" polish on spindle turnings, weed pots, vases, and other small items. They are either shellac or lacquer based, and contain waxes and oils. They will never equal the durability of a true French Polish, and they are often not as easy to apply as advertised.

There are several commercial friction polishes available with either a shellac or lacquer base - Shellawaxâ, Behlen's Woodturners Finishâ, Myland'sâ, or others. I have had the best results from the liquid Shellawaxâ. It is a shellac product that is easy to use and it makes a very high gloss finish when you follow the directions. Similar results can be had with other products and homemade friction polishes, and these will be discussed later.

Don't expect to get perfect results the first time, even if it is advertised as easily done. Getting good results, particularly with shellac based products, takes as much practice as getting a good French-Polish with the techniques described in Part 9 of this series. There are several techniques that will increase the probability of getting a good finish with any Friction Polish.

1. A friction-polish is not a miracle product. The finish will only be as good as the surface you put it on. The wood surface must be as near perfect as we can get it because the high gloss will also magnify every defect and things we thought were insignificant are suddenly obvious. Sand to at least 600 grit, and 1500 is even better. Remove all sanding scratches and circular rings.

2. Heat is required to "flow" the finish and make a smooth finish. High lathe speed isn't necessary as long as there is enough pressure and friction to generate the heat. The applicator should be just below the temperature where it is too hot to hold. In other words, when your fingers start to burn, you are there.

3. Do not flood the surface with the finishing solution. Use just enough to cover the surface for the first coat. Then add small quantities as each previous coat dries, and continue to run it until it is dry and gets hot before adding more finish. This is a case where minimal is the right amount.

4. If ridges in the finished surface are a problem, adding more finish is not the solution. We may already have too much. Add denatured alcohol to the applicator if it is a shellac polish, and lacquer thinner if it is lacquer. The thinner will soften the surface, and allow us to "flow" the finish with friction heat.

5. We must use an applicator that will not impart a surface texture to the finish from the weave of the cloth, or hardened finish on its surface. I have found the best applicator to be a piece of new velour towel. It doesn't have to be white, but it has to be new. Washing leaves a detergent residue that can affect the finish, and drying hardens the ends of the cotton fibers. The soft velour will form a smooth matte in the friction area that is free of any texture. Rather than break-in a new applicator every time, store it is a small jar with just enough denatured alcohol to cover the bottom. The excess alcohol will evaporate from the heat the next time it is used.

Again, I prefer to use my own mixtures because they are just as good as, and a lot cheaper than the commercial products. If you are into experimenting with finishes; a shellac based friction polish can be mixed from equal parts of shellac, denatured alcohol, and boiled linseed oil. Add a little beeswax, about a teaspoon full to ½ pint of finish. Heat the wax in the microwave to soften it before adding it to the finish. The oil will not mix with the alcohol, so you will have to keep it stirred. The commercial products get around this problem by homogenizing the mixture.

A lacquer based friction polish can be made from equal parts of Deftâ gloss lacquer, lacquer thinner and boiled linseed oil.

Power Friction

This discussion has been based on the traditional application of a friction polish with the wood spinning in the lathe. This works very well for small pieces up to about 6" diameter. It does not work well for larger bowls or platters.

Enter the power sander with a 2" sanding arbor and a 5" square of the same new velour toweling that was described in Item-5 above.

Put an 80-grit disc on the arbor to grip the velour, wrap the velour square around the sanding disc with the face side out, and hold the corners with a rubber band or a small tie-wrap. Hold the work stationary in the lathe, or other means. Then dampen the pad with the Friction Polish. Run the drill at approximately ½-speed, and work the pad across the surface. Recharge with more Friction Polish when it starts to get dry and "grab" on the surface.

When there is a uniform coat on the wood, continue working the pad at the same speed until the surface of the pad is dry and feels hot to the touch. Stop when there is a uniform high gloss. Lift the spinning pad from the surface before stopping the drill rotation.

Apply a small amount of the Friction Polish around the perimeter of the pad, and repeat the application.

FINISHING SECRETS… No. 11, Lacquer

A spectacular grain "picture" calls for a spectacular finish, and a polished lacquer is the ideal choice for such a piece of wood. Lacquer has the unique ability among finishes to build a durable crystal clear film that gives depth and clarity to the wood surface.

Lacquer is the easiest of all finishes to apply, but it is also the most difficult to do well because it is the least forgiving of anything that we can put on a piece of wood. It will add some new words to our finishing vocabulary, "blush", "fish-eye", "blister", "sag", and "run"; and you will learn to invoke the wrath of God in several languages. Don't let this scare you away because they are problems that we can easily work around once we know what causes them.

Lacquer can be applied with either spray or brush. The results from brushing can be equal to spraying, but it will take a lot more time and handwork to get there. I prefer to use air because it is faster. Brushing is discussed after we have explored the spray application.

This discussion is a "what works for me" approach to using lacquers. It should help the novice finisher get past the trial-and-error part of learning a new finishing technique. The missing ingredient is the experience with using lacquer and developing the motion and rhythm for using the spray gun or brush. That takes the practice, and that I can't give you.

Equipment For Spraying

Don't write-off a sprayed lacquer finish because you have been led to believe that large and expensive equipment is required. Nothing can be farther from the truth. A good brush costs more than a good spray gun. A "best buy" is the siphon-type detail gun that is available from Harbor Freight retail stores for something like $15.00. The same thing will cost twice that from Home Depot or Lowe's.

A compressor rated at 4CFM at 100PSI can support spraying our turned wood. That is not a large compressor.

I do use an in-line air filter, but use neither a water-separator nor an air-dryer. My approach to spraying lacquer is that if water condensation is a problem, the atmospheric conditions are wrong, and I shouldn't be doing it anyway.

Moisture and "Blushing"

"Blush" is a white cloudy appearance of the finish that is caused by water vapor that condenses on or under the finish as is applied or dries. In either case the water is absorbed into the finish and forms the characteristic cloudy appearance. Understanding the problem can keep us away from the situations that have an effect on our finish.

All air contains water vapor. The amount is defined by the "Relative Humidity" (RH), and the temperature where it will condense is called the "Dew Point" (DP). The secret to spraying lacquer is to prevent either the finish film or the air that carries it to the surface from cooling to below the dew point.

Rapid evaporation of the thinners in the lacquer also cools the surface film. If the surface temperature cools to below the dew-point temperature, the water vapor in the surrounding ambient air will condense on the surface as it dries. This evaporative cooling is enhanced when the finished has already been cooled by the air system that carries it to the surface.

To some degree, "blushing" can be controlled through the use of "retarding thinners" that evaporate more slowly than the normal lacquer thinners.

Water vapor can be a problem in the air stream that passes through the compressor and spray equipment. This air is heated as it is compressed, and then it cools again as it expands. If there were no intermediate cooling between the compression and the expansion, it would return to its ambient temperature. However, if it is allowed to cool, such as in an air-tank, after it has been heated by compression, it will then expand to a temperature that is lower than what was ambient before it was compressed. When this new lower temperature is below the dew point of the air, the water vapor will condense.

In the worst condition, the condensation will form water droplets in the air stream, making craters, called "cat eyes", in the surface film. Even when the air does not cool sufficiently to form water droplets, it can cool the lacquer that it is carrying to the surface, adding to the cooling of the film that takes place from the evaporating thinners.

Water droplets that condense in the air stream can be removed with mechanical separators that are installed in the air lines, but the cooling effect on the finish product that it carries remains. HVLP (high volume - low pressure) spraying equipment eliminates both the water and cooling effect of the air stream because the air pressures are low. The cheaper solution is to obey a few rules that keep us away from the conditions that will cause problems.

Atmospheric Conditions

Lacquer is not as forgiving of our working environment as other wood finishes. Because of inadequate ventilation in our shop/studio, most of us have to spray lacquer outside, or in an open doorway, where we have no control over the surrounding ambient air. We can all but eliminate many of our problems if we obey a few simple rules.

The amount of water vapor in the air can be measured, as well as the probability for it condensing into droplets or "blush". Knowing the ambient air temperature, its "relative humidity" and the "Dew Point Temperature" we can determine whether any day will be a good one for spraying lacquer. This information is available from the Weather Channel website at www.weather.com or other sources for similar information.

We should recognize that there are places and seasons where we cannot spray lacquer under any conditions. One that I know of Western Washington during the winter rains when the humidity is very high and the DP very close to the ambient temperature.

While there is no single set of values that will insure successful spraying, I have learned that the following guidelines can be useful.

· The "Rule of 65"

I have learned the hard way that lacquer should not be sprayed when the temperature is below 65°F or the Relative Humidity (RH) above 65%. It should be obvious why we should not spray lacquer until after the morning fog has lifted, or while there is dew on the grass. The Weather Channel (www.weather.com) or other weather source with temperature, humidity, and dew point information

Violation of this rule can result in "blushing" (cloudy appearance) of the surface film from trapped water vapor. If we deviate too far, water droplets will be blown on the surface. The range of temperature and RH for brushing lacquer is broader because of its slower drying rate and the fact that we usually try to do it inside the shop.

· The "20°F Rule"

How far above or below, and far apart these two numbers should be is defined by another rule that states - It is safe (usually) to spray lacquer when the dew point temperature (DP) is greater than 20°F lower than the ambient temperature.

This is an additional guide when it might seem impossible to spray lacquer if we were to obey the "Rule of 65". In other words, I could get away with spraying lacquer or other finishes with fast drying thinners at an ambient temperature of 100°F, as long as the dew point was below 80°F, regardless of the RH.

I would improve my chances of successfully spraying the lacquer by using a small capacity tank that would allow very little cooling between compression and expansion of the air. This may permit us to work with a DP that is closer to the ambient temperature than the recommended 20°F.

· Using The Rules

A typical example of when not to spray lacquer would be the typical winter day in Western Washington where the temperature is 45°F, the humidity is 90%, and the dew point is 43°F

Other Conditions

There are several other conditions that will improve the success of our sprayed lacquer finish.

· Bugs and dust
Bugs love lacquer. Don't try spraying a finish when there are a lot of them about. And, try to choose a calm day to reduce problems with dust. Contamination by bugs and dust particles is more noticeable in a lacquer than any other finish that we can put on a piece of wood.

· Sunlight
Do not expose the work to direct sunlight while the lacquer is still wet. To do so will usually result in "blistering" and bubbles in the surface film as it dries.

· Oils and Silicones
Do not contaminate the wood or film surface with oils of any type. These oils will cause a small circular dimple in the surface film, called a "fisheye". To insure a clean surface, do not use sandpaper that has anything added to its surface for easier sanding.

Do not use a sanding sealer unless you know that it is compatible.

Steel wool must be "oil-free". I recommend either the Libronâ brand that is available from Craft Supplies or purchasing steel-wool from an automotive paint supplier. Don't trust the package label on commercial steel-wool because "oil free" is a relative term. If in doubt, rinse it two times in clean Mineral Spirits and thoroughly dry before using. Then test it by spraying lacquer onto a wood surface that has been vigorously rubbed with the cleaned wool.

Do not use any wax containing silicones anywhere in the shop. Keep your hands washed and dry, and avoid getting any perspiration on the wood surface.

· Shop Dust
When we spray or brush lacquer in the shop, we can control the temperature, RH, sunlight and bugs. But, shop dust is a larger problem. A clean shop is the obvious solution. Spraying the lacquer when first entering the shop, before the dust has become airborne, will help.

· Ventilation
There are three (3) new problems to solve when spraying lacquer in the shop - ventilation, ventilation, and ventilation. Spraying indoors is not recommended unless you have a dedicated spray booth, a good supply of fresh air, and a full-face respirator with carbon filter cartridges.

About The Lacquers

All commercial lacquers contain a few "solids" and a lot of thinner. The solids are what is left behind as the finish after the thinners have evaporated. Not all lacquers are created equal, and lacking any other knowledge, price is a good indicator of quality, and the weight of the can the amount of "solids" it contains.

We will not even consider the water-borne products that are called and sold as "lacquer". They aren't even close to being the same thing. The manufacturers keep trying, but they still have a long way to go. Their film has a cloudy bluish tint, and they weren't crystal clear the last time I looked. And, we will not discuss the use of the catalyzed lacquers. While they are excellent products that will yield a durable gloss finish, they are for "professional use only" because they require ventilation and personnel respiration equipment that is beyond the scope of the normal woodturning shop/studio.

· Commercial Cellulose lacquers (Park, etc.)

These are not recommended for our use because their surface film will turn yellow in color and become brittle with age. These lacquers will turn a very dark brown color with age while they are still in an unopened can, If you want to use one of these products, ALWAYS open the can before making the purchase to see whether it is clear or amber in color. If it is amber in color, then it is either poor quality or stock that has started to age. Expect to pay about $15.00 per gallon for these products.

· Deft

"Brushing lacquers" have been blended with "retarding" thinners that take longer to evaporate, and this allows allows leveling of the surface film. The DeftÒ that is familiar to all woodturners is a brushing lacquer. Brushing lacquers can also be used in a spray gun, but their slower drying rate will allow sags and runs to form more easily.

Regardless of the advertising claims, a can label that nowhere uses the word "lacquer", and the many mysterious attributes that it claims to have, I can only judge the product by how it compares to other lacquers. For a price of $32.00 a gallon, it offers the same solids content as the less expensive lacquers. It offers a slight advantage over the other cellulose lacquers because it has been modified to remain more flexible, and not yellow as fast with age. Out of habit more than any logical reason, I still use Deft as a general wood sealer finish where clarity isn't important. It is easy to use, brushable, and readily available. But, I will never use it for the "museum quality" lacquer finish that we are discussing in this article.

Deft, like any other brushing-lacquer, can be used in a spray gun, and usually without using any thinner. Its slower drying rate can useful, but will also contribute to "runs" and "sags" in the surface film if we are not careful. Contrary to what is printed on the can, or in their literature, Deft can be thinned with any commercial lacquer thinner.

· CAB-Acrylic Lacquer

To some degree, all lacquers become brittle with exposure to sunlight, but the CAB-Acrylics will stay more flexible than anything else that I have used. At a price that is only slightly higher than Deft ($36.00 a gallon), the lacquer by Sherwin-Williams is "water white" in the can, and it will not turn yellow in our lifetime. There are similar products available from Kelly-Moore and other sources, but some of them can already be an amber color when the can is opened.
I thin it to no more than 50/50 with a commercial thinner for application with 30 PSI at the spray gun. Any product labeled "Lacquer Thinner" can be used.

· Ditzler (PPG) Automotive Lacquer

This is the best of the several brands that I have used over the years. It will not turn yellow with age, and its film is flexible enough that it will not show cracks on any but the most flexible of our wood turnings.

We will have to go to the automotive paint supplier to purchase this product. Be prepared for a shock when you see the price because it retailed at $36.00 a quart the last time I bought it. Yes, that is "quart"! This lacquer is sold for use in high-pressure spray equipment, and as such has an extremely high solids content. I thin it to a 3-to-1 or 4-to-1 thinner-to-lacquer ratio for application with my siphon gun at 30 PSI. At that thinning rate, it is actually cheaper than Deft
.
· Waterborne Lacquers

These products are not a true lacquer, and have none of the properties of clarity, grain enhancement, or gloss that are found in the nitrocellulose lacquers. As such, they are not appropriate for this discussion.
Wood Selection and Preparation For Finishing


The statement, "The appearance of the finish that you put on the wood can only be as good as the surface under it" has never been more true that when we are applying a high gloss lacquer finish. The wood surface must be the closest to perfection that is possible. The clear high gloss film will magnify every surface flaw, sanding scratch, and tool mark, and many of them will not be visible until after the finish is applied.

Such a wood surface isn't all that difficult to accomplish if we follow the directions for sanding that were discussed in my article, "Sanding Savvy", presented as No. 3 in this series of articles.

All wood species are not suited for a lacquer finish. Avoid those with a coarse open grain (Oak and Ash), those that are very soft (Cedar and Redwood), and those that are very oily Cocobolo), until you have some experience with lacquer. The coarse grain doesn't develop an attractive appearance unless a lot of fillers are used, and fillers can be the cause of other problems. Soft wood doesn't provide a rigid foundation for the surface film. And, some oily woods can cause adhesion problems. Maple, Walnut, Cherry, and Mahogany are a few of the common woods that are ideal for a high gloss lacquer finish.

A heavy lacquer finish is not suitable for a piece that is flexible, or one that has sharp "inside" corners where a heavy fillet can build. In either case, we would be asking for cracks or separation from the wood. Although they can be easily repaired with a coat of very thin lacquer, it is best to avoid their happening at all.

Wood Moisture Content 

The moisture content of the wood must be at its equilibrium with the relative humidity of the environment. Some deviation can be tolerated, but not much. Excess moisture in the wood can condense on the underside of the surface film as it cools. This can cause either a blushing under the surface film, or cracking of the surface film from movement of the wood as it continues to dry. Depending on the amount of moisture, it may be absorbed back into the wood, but normally that doesn't happen, and it will require removing the lacquer film from the wood. Fortunately, this is often made easier because the moisture will also cause adhesion problems, and that can make it easier to remove.

Application of the "Finish"

I hope that all of the above hasn't frightened anyone away from a high gloss lacquer finish. It isn't more difficult than other finishes, it is just less forgiving. When the piece is sanded to perfection, we are ready to proceed.

1. Brush on a heavy sealer coat of either Deft or the same lacquer and thinner that you will be using for spraying. Let it sit for no more than a few seconds, and then wipe it all off with clean paper towels, changing them often, until the wood surface is smooth and dry. Make a final wipe with a towel that has been dampened with thinner.

2. Wait about 30 minutes for the lacquer that has been absorbed by the wood to dry. Then buff with 0000-grade steel wool, and proceed with the first coat.

OR….

If you want to accent the grain of a wood like Maple, apply a liberal coat of any oil/varnish finish and immediately wipe the surface dry. Wait until the following day, and buff with 0000-steelwool. To avoid any potential for adhesion problems, brush on a coat of a 2-pound cut dewaxed shellac. It is best to mix your own shellac because any wax in the shellac could cause problems with the lacquer. Commercial pre-mixed shellac can be dewaxed by pouring it into a quart Mason jar, letting it sit for several days until the heavier waxes have settled to the bottom, and then decanting the clear shellac into another container, leaving the waxes behind. Sand the shellac lightly with 600-grit or the same grit that used last for finishing the wood. Buff lightly with steel wool and proceed.

3. Adjust the air-regulator to 30PSI. Fill up the spray gun with lacquer that has been thinned to no more than about 30% thinner, and practice on a smooth piece of scrap wood to find the correct balance of finish viscosity and air pressure. Add thinner if you cannot get good atomization and coverage, but no more than a 50/50 mixture. Use a retarding-thinner if there is a problem with "blushing". If the surface develops a mottled appearance (called "orange peel"), reduce the air pressure. "Orange peel" is caused by the impact of partially atomized droplets of finish impinging the wet surface film.

4. Apply a wet coat to the entire surface, but not so much that the lacquer runs. If you get a run, or a "fisheye", leave it alone for now. Try to avoid over-spray, but don't be concerned because there will always be some present. It is impossible to totally eliminate it. Some degree of "blush" can also be tolerated, and it may disappear with the addition of more lacquer or after it is buffed.

Wait three minutes and shoot another wet coat. Then wait three more minutes, and shoot a third. If the "blushing" doesn't disappear, or gets worse, the weather conditions are wrong, and you didn't read our previous discussion on that subject.

5. Then wait at least 2-hours, and buff the surface with 0000-steelwool until it is smooth and all surface blemishes have been removed. If the lacquer balls up in the steelwool and it is difficult to get a smooth surface, wait another couple hours, or until the next day.

6. Repeat Steps 4 and 5, and apply another three wet coats followed by buffing with steelwool. Then repeat a third time. You will now have a total of nine coats of lacquer; three successive coats applied three times.

7. Thin the lacquer to 2/1 ratio of thinner to lacquer, and apply two successive wet coats no more than five minutes apart. Set the piece aside for at least two days.

8. Buff lightly with the steel wool to remove dust, bugs, over-spray, runs, etc.

9. Wet sand with 1000-grit, followed with 1500 and 2000-grit, both lubricated with water. For a rough or brushed on surface, you may have to start at 400 or 600-grit, and work your way up to the finer grits. A couple drops (only) of liquid dishwashing detergent in lukewarm water makes a better lubricant for sanding than water alone.

10. Polish with 4F Pumice that is lubricated with water. Use a piece of felt or a ball of cotton tee-shirt material for polishing pads. Then buff clean with a cotton cloth.

11. Polish the surface with Rottenstone, lubricated with water.

12. Polish one more time with Rottenstone, only this time it is lubricated with mineral oil.

13. Buff with a clean cotton cloth. It may be necessary to wipe with soap and water or mineral spirits to remove all of the oil from the surface. Lacquer will not dissolve in mineral spirits.

Admire your creation. Now, was that as difficult as it appeared when you first read this article?

Trouble…..what to do with blushing

Sometimes we will get blushing, regardless of our efforts to control it. All is not lost, and there are two things that we can do……

The first thing to do is nothing.

Take the piece inside where the temperature is at least 65°F and wait until the next day. The change in environment will often allow the moisture that is causing the blush to evaporate through the surface film.

If that didn't work, add 10-25% retarding thinner to the same thinner that you were using, spray the surface with the mixed thinners, and allow it to dry. The thinner softens the surface film, and the retarding agents slow the drying time, allowing the trapped moisture to escape. I would recommend that 10% retarding thinner be used, and the quantity increased to a maximum of 25% only if that didn't work.

In the rare occasion where the thinner doesn't remove the blush, you will have to wait for more favorable weather conditions, remove the surface film with 0000-steelwool until the cloudy area is removed, and then recoat with fresh lacquer.

Doing It With A Brush

We can get the same quality finish with a brush, it just takes longer and more work. Follow the same steps as described for spraying, except apply the lacquer with a brush, and only one coat at a time rather than three. Apply a smooth and heavy coat, blending as many of the brush marks and over-laps as possible before the surface film starts to form. Stop brushing when the film starts to dry and drag on the brush.

The quality of the brushed finish is directly proportional to the cost and quality of the brush. There are better brushes, but you can get acceptable results with the 1" diameter pony-hair mop brush available from Craft Supplies for about $15.00, and the 1" wide badger-hair brush from Woodcraft is another good brush for about the same price. I would not expect anyone to be satisfied with the finish that results from using anything less than either of these brushes. A high quality lacquer brush is a good investment because it will last for many years. The current cost of a similar sized sable-hair brush is about $95.00, but still a good investment if you will be using brushing lacquer finishes on turned wood.

Clean the brush with thinner after using, and wrap it in a piece of grocery-bag paper to keep the dust away. Soak it in thinner again before using.

Use adequate ventilation, and be careful of dust. We have a tendency to ignore both when we are brushing lacquer in the shop/studio. The slower drying rate of the "brushing lacquer" allows more dust into the surface film. Lacquer should be brushed in the morning as soon as we enter the shop, and before any equipment is started to raise a dust cloud.

If you are using the Sherwin Williams CAB Acrylic or similar lacquer, thin it with 25% "retarding thinner". This slows the drying time and allows the brush marks to flow out. Add more thinner as desired, but no more than an additional 25% (50/50 thinner total). Or, use clear DeftÒ straight from the can. It may not be the best, but it sure is easy to use.
The sanding and buffing will be more difficult because it is necessary to remove the imperfections from brushing. Be careful not to go through the film into the wood. It may be necessary to apply additional brushed coats to get the desired uniform film thickness.

Conclusion

A lacquer finish is neither quick nor easy, but the spectacular results are worth the effort. Always remember that a high gloss lacquer finish will not have the appearance of "plastic". If it does, we have done something wrong.


FINISHING SECRETS…… No. 13, Coloring Wood Turnings With Aniline Dye

(This chapter was revised to add information in the "Dyes and Stains" section on 3/4/2002)
Wood can be colored with chemical or natural stains and dyes in solid or mixed colors, and accented with gilt, liming wax, or patinating wax in an unlimited number of variations. If you want to know everything there is to know about coloring wood, get a copy of the book, "Coloring Techniques For Woodtrurners", by Jan Sanders. It may be out of print, but there should be an AAW Chapter library or a fellow woodturner with a copy that you can borrow.
The following is a summary of the techniques, and a discussion of the areas that can cause problems. The presentation describes a piece that is first dyed and then the grain is accented with either a gold cream, or a white liming wax. Either the dying or the accenting can be used separately for different effects.

Dyes and Stains

Traditionally, the difference between a dye and a stain is the size of the color particle. Stains are very large insoluble particles that are worked into the open spaces on the surface of the wood. Dye particles are near molecular in size, are soluble, and occupy the open spaces in the cellulose structure of the wood. For a comparison, if the dye particle were the size of a BB, then the pigment particle would be the size of a pickup truck. Since it is in the wood, the dye is more transparent and doesn't mask the wood grain and texture like pigments that remain on the surface.

These definitions can get confusing because there are prepared stains that contain dyes, and wood colored dyes can be used in place of the traditional stains.

Dyes are classified by the liquid that is used as the solvent - water, alcohol, or oil. The water-soluble dyes are ideal for wood turnings because of their color brightness and clarity. They are more colorfast, easy to apply, can be removed from our hands with repeated use of soap and water, and are compatible with the oil and lacquer finishes. They are also very slow drying, making it easy to apply an even coloring without overlaps. Colors can also be easily blended through a transition, such as a yellow/green/blue, or blue/purple/red.

The water will raise the grain of the wood surface, but this is a minor problem with a simple solution. The aniline dyes distributed by Craft Supplies are made by Libron and they are of good quality for about $3.00 per ounce.

While not raising the grain, alcohol and solvent soluble dyes dry too fast to apply a primary color over large areas without having visible overlaps. This faster drying makes them a better choice when a sharp color separation is desirable such as for grain painting, stenciling, or artistic forms.

Blackberry juice, burgundy wine, and boiled walnut husks are sources of natural dyes.

I have not had any success using Rit® or similar dyes made for cloth. These dyes are a heat-setting type and must be boiled into the material being dyed, and I have never found boiling to be a good technique for finishing wood.

A third method for coloring wood is by a chemical reaction of various solutions with the wood itself. An example of this technique is that of Ebonizing. The reaction of the tannins in the wood with a solution of vinegar and dissolved iron particles will impart a black color to the wood. Other reactions will create other colors. These techniques will not be a part of this discussion.

Mixing The Dye Solution

The dye powder should be dissolved in warn (150ºF) distilled water - ½ ounce of dye in ½ pint of water is a useful ratio that will yield a strong solid color. The dye solution can be diluted later if a more transparent color is desired. If you don't have a scale, then one (1) level Tablespoon is close enough. Mix well, cover the jar, and let it cool. Strain the solution to remove any sediments before using.

Selecting The Wood

Any wood can be died any color. The wood should be bleached before using the light or transparent colors such as the yellow or red. If the grain will be accented, then use a strong open grain such as Ash or white oak.

DYING THE WOOD

Dying the wood will take a total of about 30 minutes, spread over a time of 5 to 7 days. An overnight wait every time the wood is wetted will insure that it is thoroughly dry for the next step. The following discussion is based on a solid uniform coloring of the turning.

Day 1 - Preparing The Wood

The wood surface has to be smoother than for any other finishing technique. The dye will accent every surface blemish, including torn grain, tool marks, and sanding scratches. But, natural defects and bug holes can add character to the wood.

The wood should be bleached before applying yellow or red. The wood bleach made by Kleen-StripÒ will give good results without a lot of effort.

Wet the surface of the wood with a damp paper towel while it is spinning on the lathe. Set it aside until the next day so that it is thoroughly dry. Surface dry isn't good enough.

Day 2 - Final Sanding & First Dye Coat.

Sand with 600-grit or steel wool to just remove the surface fuzz that was raised from the water. Sand in both directions to get a really smooth and whisker-free surface. Any more than this will expose a new surface.

With the piece in the lathe, lightly moisten the wood surface with a damp paper towel, and then apply the first coat of dye. If the end color will be black, this first application should be a dark blue. This will color-correct the black, and prevent the formation of a bronze glaze on the surface. A sponge brush is an excellent applicator. Dip the handle in the dye to identify the brush after using it, rinse it out, and save it for the next time.

Spin the wet turning in the lathe and remove all excess liquid with a paper towel. Be careful not to throw dye around the room.

Day 3 - Second Dye Coat

Put the piece in the lathe and burnish the surface with a dry paper towel. This removes any loose dye from the surface, and should be done after every application. Moisten the surface with a damp paper towel and apply the second coat of dye. If the end result is to be black, then this is the first coat of black dye. If the final color will be the same as the first, then this will be the final application of dye. Burnish the surface with a soft paper towel while it is still wet.

Day 4 - Third coat of dye

Repeat Day 3 if the final color will be black. If not, go to the next step.

Day 5 - Enhance The Grain

Buff the dyed surface with a clean paper towel. The same technique is used for all accenting colors. We have not put any finish on the wood because we want the grain to be open to be filled with the coloring wax. A coat of Danish Oil can be applied and allowed to dry before continuing. This will seal the dyed surface without filling the grain. Do not use a film finish such as lacquer or a varnish.

Spread the grain accenting color over the entire surface. I like to use gold gilt cream or white liming wax. Fingers are the best applicators.

Let the piece sit for about 15 minutes. Then spin the piece in the lathe and remove the excess color from the surface with a soft cloth that has been dipped in a liquid wax or an oil/varnish wiping finish. Follow this 2 or 3 times with a clean dry paper towel. When you are finished, you will know why the earlier warning about tool marks and torn grain. Set the piece aside for 48 hours.

Day 7 - Applying A Finish

We have several choices of finish. We can apply a liberal coat of paste or liquid finishing wax to the entire surface. Spin the piece in the lathe and wipe the surface with a clean towel while the wax is still wet. DO NOT use a hard finishing wax stick because it will abrade the dyed surface and remove the dye and grain enhancing wax.

Or, we can spray on a light coat of Deft®.

Or, we can apply a Tung Oil finish such as Waterlox® or Gillespie's®. Use Watco if there is nothing else available. Do not wait; wipe it off immediately with the piece spinning in the lathe.

Done! Hold it up and admire!

Some Things That I Have Learned (the hard way).

They may be a bit more expensive, but Libron® aniline dyes are excellent. So are all of their other products. Check out their web site at http://www.liberon.com/ Craft Supplies sells Libron dyes.

Whenever I refer to a soft cloth, I have found Viva® to be softer and more absorbent than other brands.

Use distilled water because the metallic salts and chlorine in tap water will change the color and reduce the shelf life of the dye solution.

The shelf-life of the dissolved dye is from 6 months to a year. Store it in a closed Mason jar in a cool dark place. Throw it out when a bronze colored film forms on its surface.

Finishing Secrets...... Addendum

These articles have been in a continuous revision during the several years since they were first written in 1996 and 97. In December, 2001, I determined that they were as complete as they were ever going to be, and it was time to stop making changes, corrections, and additions. However, this was not the case because there were still questions from readers, presentations, and newsgroups that were of importance to the subject of finishing. This addendum is written to correct those omissions, answer the frequently asked questions, and provide new and additional information that has developed since the final revision of the text. These topics are presented as questions, and are not in any order of importance or content.

Which finish do I prefer, and why?

The answer to this question is that it usually doesn't matter what finish is used, so long as the wood was properly sanded and prepared prior to its application. Some reasons for using a particular finish are discussed in the individual sections. However, there are applications where a specific finish is preferred.

There is no environment more severe than that of the gallery. The lighting in most galleries is very bright full-spectrum fluorescent, and on for 24-hours a day, the air is too dry to be suitable for wood, displays are placed in bright sunlight, the pieces are handled often and subjected to acidic body oils, fingernails and rings, they are sometimes dropped, and the wood will be subjected to water droplets if there is a waterfall art within 20-feet of it. This environment calls for the best protection that can be put on the wood, also one that can be easily repaired, and that is an oil/varnish.

This same durability is the reason that I use an oil/varnish on most of my large pieces.
Since lacquers are so difficult to apply, why would an