Finishing methods

Finishing Finishing Methods
WOODFINISHING
Surface Preparation
The first step to a good finish is to make sure the surface the finish will be applied
to is free of all defects such as dents, gouges, scratches and milling marks. Most
finishes bring out the natural grain and beauty of the wood. Unfortunately, they
may also magnify any defects that may have gone unnoticed. What appears to
be a minor defect on raw wood will stand out like a sore thumb when a stain or
finish is applied.
Common Sense.
Surface preparation should begin before the project is assembled. A fair amount
of common sense should be used during construction. For example: any surface
that can't be easily reached after assembly should be sanded before assembly.
In general attention to detail such as tight joint lines and excess glue squeeze out
should be addressed during construction. Excess stain will accumulate between
poorly fitted joints and will appear as unsightly dark lines when the finish has
been applied. The glue squeeze out should be left to dry and then removed by
using a scraper. During construction I am constantly asking myself, "How will this
affect the surface when I apply a stain or finish"? Ask yourself this while you
work.
Mill Marks
If you wish to build a quality piece of furniture, I recommend buying good quality
lumber, free of knots, sap, blemishes etc. If you do so, about the only defect you
will have to deal with on the board will be mill marks. When boards are run
through a planer, the rotating planer knives take shallow bites out of the wood.
Mill marks appear as a series of repeating raised bumps that run across the grain
of the board. If the knives are very dull, the marks really stand out, but more often
they are less pronounced, in some cases invisible to the naked eye. It's important
to note that mill marks are present on every board that has been run through a
planer, regardless of quality or source.
Sometimes mill marks are very hard to see. If you don't detect and remove them,
they will really stand out once a stain or finish has been applied. The best way to
sight mill marks or any other minor flaws or defects is to use reflected light.
Position a lamp above the work surface at about a 30 degree angle to the
surface. You will be surprised when the marks you could not see before now look
like mountain peaks and valleys. Overall, the best way to remove mill marks and
other minor defects like small surface scratches is by sanding.
zaini@selectvest.com Wisdom Management Services (M) Sdn. Bhd. 1

Sanding
Choosing The Right Paper
There are several types of sandpaper, some are designed for sanding finishes
like lacquer and varnish while others are best for sanding raw wood. Garnet
Paper is an orange colored sandpaper that is made of a natural abrasive. It is
excellent for sanding raw wood. Another type of paper that is favored by furniture
and cabinet makers for sanding raw wood is Aluminum Oxide paper
(sometimes known as production paper). This is the standard brownish colored
paper found in most hardware and paint stores. Aluminum Oxide is a man made
abrasive and will last a little longer than Garnet paper. Either of the two will
produce excellent results. The types of paper you want to stay away from for
sanding raw wood are the Silicon Carbide (Wet or Dry) paper which is black in
color, and the light gray colored papers which are lubricated and used to sand
lacquers and other topcoats.
Grits.
Sandpaper is graded by using a number system. The finer the paper, the higher
the number. Garnet and Alum. Oxide paper range in grit sizes from 36 (Very
Corse) to 240 (Fine).
Choosing A Sander
Over the past few years a variety of sanders have been introduced onto the
woodworking market. Some work very well, while others, not so well. The three
most common sanders used for surface prep are a belt sander, orbital sander
(pad sander) and the most recent random orbital sander. Each sander produces
a distinct surface finish. A belt sander is best used when a lot of material has to
be removed from the surface. For example when glued up boards have to be
leveled. It is a dangerous tool, make one mistake and you may wind up ruining
the workpiece. Even though a belt sander removes stock quickly, I don't think it's
worth the risk. The belt sander leaves straight lined scratch pattern.
While orbital sanders do not remove stock like belt sanders, some of the
heavier models like the Porter Cable Model 330 Speed Bloc will do a great job of
removing scratches and milling marks when a piece of 80 grit sandpaper is
mounted to it. These sanders leave small orbital scratch patterns that are nearly
invisible to the naked eye. When using an orbital sander, don't press down too
hard on the worksurface. Let the weight of the machine do the job. Although you
can initially sand across grain make sure you take your last passes with the grain
to avoid leaving scratch marks on the stock. The random orbital sander is the
machine I most often use. Because it creates an orbital as well as revolving
motion, it removes stock much quicker than a pad sander and at the same time
leaves a scratch pattern that is almost swirl free, even when sanding across

grain. To properly use this sander, start it while it is on the wood. If you wait until
it is running at full speed before you set it on the work, it may gouge out the
surface.
Sanding Sequence
Many woodworkers believe that if you sand the work to a super fine grit, you will
achieve a better finish. This is not true. The only purpose for sanding is to
remove mill marks, tool marks, other defects and to smooth the surface. When
sanding, sandpaper leaves small grooves relative to the grit size of the paper you
are using. By sanding with progressively finer grits you are making these grooves
smaller. Once the grooves are small enough so they can't be seen with the
naked eye, you do not need to go any further. While it is not necessary to
progressively sand using every available grit, you should not skip too many grit
sizes. Use a grit that is just small enough to remove the grooves left by the
previous paper. I usually use 100 grit to remove milling marks and any other
surface defects, then move to 180 to refine the grooves and finish up with 240
grit. If mill marks are very pronounced, I will start with 80 grit, then use 120 and
finish with 220. Sanding up to 220 or 240 on most woods will make the grooves
small enough so they are naked to the invisible eye. However, there are some
species of wood that may require sanding to a finer grit before the grooves are
not visible.
SAFETY NOTE! PLEASE WEAR A RESPIRATOR OR FILTER MASK WHILE
PERFORMING ANY SANDING OPERATION.
Sanding should proceed as follows:
1. Remove mill marks and other surface defects using 80 or 100 grit paper.
2. Once mill marks are removed, move up to a medium grit paper (120 or 180
grit). This will refine the scratch pattern. To see if you have removed all of the
deeper grooves left by the previous grit paper, first blow off the sawdust then
mount a lamp above the worksurface (at about a 30 degree angle). The reflecting
light will show any deeper grooves that may have been left. Continue to sand
until all the deeper grooves are removed.

3. Continue on using 220 or 240 grit. On most woods the scratches left by 220 or
240 grit paper will be small enough as not to be seen by the naked eye. If you
can still see scratches under reflected light, move up to a finer grit usually 280
grit.
Sanding Method
Regardless of the type of sanding machine you use, there are some basic rules
to follow. Many texts and articles tell the reader never to sand against the grain.
This is not always true. When you first start to sand using coarse paper it may be
necessary to remove a lot of material because you have to remove mill marks
and level the surface. Initially sanding against the grain will remove stock much
quicker. Once mill marks are removed and the surface has been leveled, finish
up by sanding with the grain before moving up to a finer grit. Also there are some
cases where you are forced to sand against the grain. One such case is at a joint
line where two pieces of wood meet at an angle. In this case it is also o.k. to
sand against the two pieces, just make sure you finish by sanding with the grain
up to the joint line.
Removing excess glue squeeze out.
As mentioned previously, you should use a good amount of common sense
during the construction process. Removing excess glue squeeze out is a perfect
example of this. Many woodworkers have a number of theories about how and
when to remove glue squeeze out. One theory I do not agree with is to remove
the glue while it is still wet by using a damp cloth. By doing this, you are forcing
the glue down into the pores. Furthermore, if you use a damp cloth, you are
thinning the glue out thus it will penetrate even deeper into the pores of the
wood. This method also makes it difficult to determine if all of the glue has been
removed. If the glue has not been totally removed in some areas, it will act as a
sealer and prevent a stain or finish from penetrating into the wood.
When the stain or finish is applied, the area in question will appear light and
blotchy. Another method that works much better is to let the glue set up before
removing it. As white or yellow glue dries, it first starts to skin over and form a
blister. If you don't wait long enough before removing the glue, the skin will break
open and deposit wet glue onto the work surface. If you wait about 45 minutes to
1 hour, the glue should be dry enough to remove easily with a paint or glue
scraper. There is a way to test the glue in order to determine if it has setup to the

point where it should be removed. Take a pin and prick one of the globs of glue,
if the blister breaks and fresh glue comes out it is not yet ready to be removed.
Wait a while longer. If the glue is left to dry hard it could be difficult to remove,
however not impossible. I would still recommend using this method over the
method of removing the glue with a damp cloth while still wet. A good paint
scraper is the best tool for glue removal. The scraper should have a solid blade
and sharp edge. It should also have a large heavy handle.
Some Final Tips!
Removing Sawdust. Use a tack cloth to remove sawdust from the worksurface.
Lightly wipe the surface, don't rub hard or press down or the resin in the tack
cloth will be deposited on the worksurface and may contaminate it. Start the
finishing process immediately after the surface has been prepared.
Humidity in a shop can start to raise the grain and if you handle the workpiece
too much after it has been sanded, the natural oils in your hands may also
contaminate the workpiece. Hinges, pulls and other hardware. Drill all
mounting holes for hinges, pulls and other hardware before you sand and then
mount the hardware to test the fit and location. Once satisfied remove all
hardware before you start to sand. Do not remount the hardware until the whole
finishing process is complete.

Furniture repair
As an introduction, a few words about the author of this column. While I now do
furniture repair and refinishing only as a hobby and for a "sideline" income, I
worked at it full-time for a number of years, both in furniture stores that had their
own shops, as well as establishments whose sole business was to repair and
refinish furniture. I make no claim to being an authority on furniture periods or
styles, but I do know a little about furniture work, which I’ll try to pass on in these
columns. I have learned over the years there’s a lot of mystery associated with
furniture repair and refinishing (probably promoted by those in the business!) that
needn’t be. Hopefully, some of the "tips and tricks" you read here will bolster your
enthusiasm for what can be a very rewarding and productive hobby. If you have
any specific questions, address them to me at the Enterprise, with a self-
addressed, stamped envelope, and I will answer. If your question has enough
general appeal, I’ll use it in this column.
Unless your home has recently been entirely refurnished, you’ve probably got at
least one piece that has a "watermark" that ugly white blotch left from water
standing on the surface too long before it was wiped up. It may be just a few
dots, or a ring left by a glass or planter. If the mark is white there’s good news
(Black watermarks are another problem we’ll deal with later).
To fix 1 piece of furniture, or 15, you’ll have to spend about $10.00. You’ll need
0000 (called four oh) steel wool; Turtle Wax polish and Scratch remover for cars
(This product has a very fine abrasive mixed in with the wax which will let you get
a super shine.); some clean rags, and some oil. Whatever oil you cook with will
work, Puritan, Wesson, etc. makes no difference.
Pour about 1 teaspoon of oil directly on the watermark. It should fade
considerably and may disappear. Don’t be deceived, it’s still there. Rub the mark
gently with the steel wool, moving with the grain of the wood, not across. After a
minute of this procedure, wipe it clean to see how much of the mark you have
removed. Repeat this procedure, using as little pressure as necessary to scratch
the surface, until the mark is gone. Apply the Turtle Wax according to the
directions on the can. This will remove the abrasion marks left by the steel wool
You’ll have to do the entire surface in order to get a uniform sheen, so be ready
for some work when you start to remove that mark on the dining room table!
On a large piece, there’s a lot of "elbow grease" involved, but not a lot of
expense. There are other products that will work as well as Turtle Wax, but that’s
the one I use. Just be sure it’s not a polishing or rubbing compound. Those
products have an abrasive grit that’s much too rough for furniture finish work.
A little background: 99% of factory made furniture is finished with lacquer, which
will absorb standing water, and in some cases of constant high humidity, directly
from the air! The white marks are caused by water that has become trapped in

the finish. The procedure described above simply removes the very top layer of
finish, getting rid of the water(mark).
Furniture stripper
The primary requirement for furniture work is patience. Nowhere is this
characteristic needed more than in stripping furniture. Let’s see if we can make
this messy task any easier.
First, what do you need? Specific items will vary from piece to piece, but the
following list should get you through most jobs. You’ll need stripper, of course.
What kind? You basically have two options, and then two choices within each
option. Here are the options. If you’re really keen on the environment, you’ll want
a water-base stripper. They work fine, and as the label suggests, you can wash
the residue off with water. The downside is that using a water based stripper
means you must. sand the piece completely before you do anything else. A
solvent based stripper doesn’t raise the grain of the wood, but you have to be
more careful with it. Sanding is kept to a minimum. Whether you choose water or
solvent base, your next choice is going to be liquid or semi-paste. Liquid usually
strips faster, but the semi-paste is excellent for adhering to vertical surfaces and
carved material to remove the old finish from all the cracks and crevices.
Other items you’ll need include a flexible blade drywall knife, 3", with a dull edge
and slightly rounded corners. No, you can’t buy it that way, except for the 3" and
flexible part. Dull the edge and round the corners slightly with a file. This will help
prevent gouging the wood when you scrape off the old finish. Steel wool, both XX
and 00 grades, to help remove what the putty knife doesn’t get, as well as to
work on carvings and legs. Industrial grade rubber gloves. The kind sold for
washing dishes won’t last - don’t bother. When I worked where cotton rags were
plentiful and cheap, that’s what I used. Now I use paper towels, and buy them in
the 12 pack when they’re on special. If you’re using a solvent base stripper, you’ll
also need some lacquer thinner - a quart will be plenty. Get a natural bristle
brush, not synthetic, preferably the cheapest one you can find, 2" wide, for
applying the stripper. Lots of old newspapers to cover the floor under and around
the area you’re working in and a quart of paint thinner. If you buy a length of 1/4"
or 5/16" dowel rod and cut it into 5-6" lengths and then run both ends through a
pencil sharpener, you’ll have some great tools for digging in cracks and crevices
that won’t chew up the wood. Some disposable foil pans for pouring the stripper
into and catching the mess as it comes off will also be handy.
Now what? A well-ventilated, well lit and well ventilated area to work in; old
clothes that you can afford to throw away if necessary; and patience. Every
stripper I’ve seen says put it on (in such-and-such manner) and let it stand for at
least 15 minutes...and nobody does. Read the directions and follow them. The

people that made the stuff know more about it than you do. They put directions
on the can so you’ll get good results and use their product again, instead of
something else. If you don’t have a watch, borrow one. Time yourself when
applying stripper. It will save you a lot of work and frustration in the future.
By the way, the paint thinner is used to clean the piece before you do anything
else. Stripper won’t cut through grease, oil, or wax. Paint thinner will remove
them all. The lacquer thinner is used as a final wash (with solvent strippers) after
you’ve finished stripping. It will remove the last traces of stripper (so it won’t
attack the new finish) and will neutralize any left in the cracks and crevices.

Cleaning May Restore Furniture
Furniture eventually reaches a point where it needs more than dusting and
polishing. Many old pieces simply need to be cleaned to restore them. Removing
the original finish of a valuable piece, if it is in good condition, would destroy
much of its value and character.
Different kinds of furniture call for different cleaning methods. Wood furniture may
be finished with oil, varnish, lacquer or shellac. For these finishes, use a good
cream furniture polish or a furniture cleaner-conditioner. These may be
commercial products or you may make a cleaner-conditioner by mixing together
the following ingredients:
• 1/4 cup gum turpentine
• 3/4 cup boiled linseed oil
Pour the turpentine into a glass container that has a tight lid. Add the linseed oil
and mix well before using. You can store the mixture indefinitely in a sealed
container.
Caution
Use sparingly on shellac finish. To find out if finish is shellac, sponge a spot that
will not show with denatured alcohol. The finish will soften and come off if it is
shellac.
To use cleaner-conditioner:
• Work in well ventilated room.
• Protect work area with layers of paper.
• Assemble equipment:
o Cup or small flat can
o Saucer or pie tin
o 3/0 steel wool pads
o Old toothbrush
o Old clothes
• Pour hot water into cup or can placed on saucer or pie tin.
• Shake cleaner-conditioner and pour enough into cup or can to cover
surface of water. Do not stir.
• Dip cloth into oily mixture floating on surface of hot water.
• Rub on small area. Avoid getting excess moisture on places that have
been glued.
• Use toothbrush on carved areas and grooves.
• For areas that appear to have a buildup of dirt, dip 3/0 steel wool pad into
the cleaner and rub lightly with the grain of the wood.

• Dip fresh cloth into clear, warm water, wring cloth and wipe surface.
• Finish by wiping surface with a clean dry cloth.
Important note
Discard mixture when the water becomes cold. Do not reheat — the mixture is
inflammable and it will become gummy. Flat painted surfaces
Painted furniture is relatively easy to clean. Paint cleaners are sold commercially
in liquid, powder and paste form. A good cleaner for flat paint is soap jelly. It can
be made by dissolving three tablespoons of white soap flakes in one cup of
boiling water. To increase its cleaning ability, add a teaspoon of ammonia or two
teaspoons of borax. If the surface to be cleaned requires scouring, add 1/4 cup of
whiting. Glossy finishes
To clean glossy enamel and other painted surfaces that have a glossy finish, use
a cloth wrung out in hot water, or hot water containing one teaspoon of washing
soda for a gallon of water. Rub gently. Soap-free detergents also may be used.
Trisodium phosphate and many of the commercial cleaners dull the finish of
glossy paints and soap leaves a film.
Leather on furniture may be cleaned by washing with saddle or castile soap and
water. Use as little water as possible. Wipe off soap traces with a clean, damp
cloth and, when thoroughly dry, polish briskly with a soft dry cloth.
Avoid using furniture polishes, oils or varnishes on leather because they could
make the leather sticky.
If leather appears dry, apply a small amount of leather dressing with fingertips.
Rub until the dressing is completely absorbed.
Leather dressing can be purchased or you can make one using the following
ingredients available at most drug stores:
• 60 percent pure neat's foot oil (in small container)
• 40 percent anhydrous lanolin (in larger container)
To mix, warm the container of lanolin in hot water until the lanolin is melted.
Slowly add neat's foot oil, stirring until blended.

Furniture Finishes
There are as many different ways to classify furniture finishes as there people to
make up the classifications. For furniture, let’s break finishes down into two
classes, with subgroups. The two classes being clear and opaque. Clear finishes
would include lacquer, shellac, varnish, tung and Danish oil, linseed oil, as well
as polyurethane. Opaque finishes would include paint (both oil and latex), as well
as some lacquers. Neither of these lists is all inclusive, but it covers the range of
what you’ll commonly find on furniture.
Another way to classify finishes is by the way they "set up". Lacquer and shellac
set up purely by drying; they do not change chemically. The solvent for either one
will dissolve the finish. I sometimes use lacquer thinner as a stripper on pieces
finished in lacquer; it’s easier, less hazardous, and more economical. Both of
these finishes are also anhydrous; they will absorb water. These white water
marks generally can be removed fairly easily (see" Furniture Tips and Tricks",
June). Other finishes change chemically when they dry. Paint, when dry, cannot
be restored to a useable liquid; neither can polyurethane or varnish.
Your choice of finish when redoing a piece is determined by a number of factors;
use, appearance, and value being the foremost considerations. You wouldn’t
want to use shellac on a dining room table top - it’s too fragile to hold up. If
you’ve got a piece with pretty grain and a nice natural wood color, you probably
wouldn’t want to paint it. In short, there are hundreds of variations you can use
when finishing a piece of furniture. Consider what’s important to you - durability,
beauty, ease of maintenance, etc., in selecting the finish you use. Here then are
the more common finishes available to the home owner, with what I perceive as
their attributes and faults.
Lacquer - Clear finish best suited for showing off wood grain. Positives -
Available in a variety of sheens, from flat to high gloss. Easily applied with brush
or aerosol. Dries quickly (with a brush, you have to work quickly.) Most brands
require no substrate sealer. Damaged finishes can usually be repaired without
stripping. Negatives - Easily scratched and susceptible to water damage.
Lacquer is the finish used on 99% of all commercially manufactured furniture with
a clear finish.
Varnish - A clear finish. Positives - Much more durable than lacquer. Slow drying
(allows more time to work). Most minor damage can be repaired without
stripping. Negatives - Slow drying time allows dust motes to settle in finish.
Tendency for beginners to ‘over-brush’ when applying the finish, resulting in
brush marks in the dried finish. Although you can handle a varnished piece the
next day, varnish hasn’t cured completely until about a month later.

Polyurethane - A clear finish. Positives - More durable than either varnish or
lacquer, and easier to apply than varnish. Negatives - Improperly applied finish
usually must be stripped, unlike lacquer or varnish which can many times be
"worked on" without stripping. Extremely difficult to repair scratches and chips -
repair is not for the amateur. Sometimes difficult to strip.
Shellac - A clear finish rarely used as such today except in restoring period
furniture. Positives: brilliant shine . Negatives: Highly susceptible to damage from
almost any liquid, including alcohol (mixed drinks will cut right through it), fruit
juices (ditto), even water will damage it if left to stand. Shellac is used primarily
today as a sealer and under coat. It can be used under lacquer or varnish, as
well as some polyurethanes.
Latex Paint - Positives: Easy to apply, easy to clean up. Suggested for any
painted furniture where extreme wear or abuse is not a factor. Negatives:
Sometimes difficult to clean a piece entirely when stripping. Repairing chips and
scratches on older pieces may present a color match problem. On raw wood a
primer is necessary.
Oil based Paint - Positives: Extremely durable. Suggested for children’s furniture
and any other application where severe abuse may be expected. Negatives:
Same as latex paint with the addition of a somewhat messier cleanup.
Tung/Danish oil - Positives: inexpensive, easy to apply, durable, water-resistant.
Negatives: A smooth finish takes a good number of coats. Slow drying.

Filling The Pores Of Wood
I often receive e-mails with the subject title "In search of a glass smooth finish" or
something like can't get level finish on oak. The problem lies in the type of wood
you are working with. It's much easier to obtain a glass smooth surface on some
woods like maple, cherry and birch, because the pores in these woods are
relatively small and uniform. Therefore, when you apply a topcoat finish such as
lacquer, varnish or poly, the first one or two coats will usually be enough to fill the
pores and level the surface. After that, it's just a matter of applying a few more
coats to build the finish to obtain enough protection and depth.
Other woods like oak, ash, mahogany and walnut have pores that are larger and
not as uniform, therefore even if you apply several coats of finish, it will probably
not be enough to fill the pores to the point where they are level to the surface of
the wood. However, some finishers do use this technique of applying one coat of
finish, letting it dry, then sanding it back down, applying another, sanding back
ect.... until the pores have been completely filled by the finish. This technique is
labor intensive and time consuming, but I do use it in certain situations for
example: when surface I am finishing has contrasting colors, whether it has been
stained with different color stains or has inlay work or just different types of wood
with contrasting colors.
Filling The Pores With The Finish
Many finishers use a commercial sanding sealer to fill the pores. I don't
recommend this. Sanding sealer should be used to make the first coat sand
easier. The sealer will stiffen wood fibers so that they will stand up for sanding.
Most commercial sanding sealers contain zinc stearate (a mineral soap). This
makes the finish easier to sand. The stearare makes the finish easier to sand by
softening it and here lies the problem. If you use multiple coats of sanding sealer
to fill the pores you will weaken the overall finish.
I have found that the best thing is to use the finish itself to fill the pores. Take
some of the finish you are going to use and reduce it about 25 percent with the
proper solvent. If you are using oil based varn. or oil based poly, use mineral
spirits. Next, apply a number of coats, letting each coat dry and then sanding
back with 220 or 320 grit paper wrapped around a flat cork or wood block. If you
have stained the wood, be careful not to sand too much or you will cut into the
stain. Here it is best to build up a number of coats first before you start to sand.
When the finish in the pores builds up to the same level as the surface, the pores
have been completely filled. To make sure the pores are filled, shine a light down
so it reflects off the surface at about a 30 degree angle to the surface. Look for
any small pits. If you see any pitting, the pores have not yet been completely
filled, go back and apply more coats. Once no pitting can be seen the pores will
have been completely filled. You now can apply your finish.

Filling The Pores With Paste Filler
Paste filler is a much quicker way to fill pores than using a finish. Do not get this
product confused with wood fillers or wood putties, it is a completely different
type of filler. Unlike wood putties, paste filler should not be used to fill nail holes
or cracks in wood. Also called grain filler, paste fillers contain some type of binder
like varnish and finely ground quartz like silica to add bulk (so it will fill quickly)
with talc sometimes added and a pigment to add color. You can purchase paste
filler in several colors, natural (which is similar to a light tan like maple), walnut,
red mahogany, brown mahogany, dark brown oak, white, black and more. You
can also tint the filler by using japan colors (if you use an oil based filler) or water
colors (if you use a water based filler). Paste filler is not clear so if you are filling
a dark wood don't use the natural and expect it to blend in, it will not work. It is
best to use a filler as close to, or tint the filler to the desired color. If you want to
accent the grain a little, make sure the filler is slightly darker than the color of the
wood. This will make the grain stand out more.
At What Point Should You Fill
It really depends on two factors. Is the wood going to be stained? If so, what type
of stain, pigmented or dye stain?
If you are not going to stain, first, apply a wash coat of whatever finish you are
planning to use. Take the finish and reduce it 50 percent with it's suggested
solvent and apply one coat. Let dry, but do not sand. This will seal the wood and
prevent it from changing color too much when you apply the filler, especially if
you are using a filler that is darker than the wood. The pores once filled, will be
the color of the filler but the wood should only be slightly darker. You can also
use the filler as a stain by not applying a sealer coat. The filler will not only fill the
pores but also color the wood slightly.
If you are planning to use a pigmented stain, it is best to fill first, then stain. If you
stain first, then fill, when you rub off the excess filler you will also be removing
much of the pigment.
I believe it's best to use a dye if you are going to both stain and fill. There is less
chance of the dye and filler bleeding together and the dye will not obscure the
grain as a pigment will. First, stain the wood using an aniline dye or NGR stain.
Next, apply a wash coat (same as described above). Let the wash coat dry, but
do not sand, then apply the filler. This method will enhance the contrast between
the pores and surrounding surface.
Applying The Filler
One of the keys to the application is to make sure the filler has the proper
consistency before you apply it. Most fillers come pre-thinned and ready to use.

However, others still need thinning. The filler should be thinned to the
consistency of heavy cream. If necessary, thin slowly, adding thinner a little at a
time and stirring well. The filler should be just thin enough to flow off the stick.
You can thin oil based filler with either mineral spirits or naphtha, water based
filler should be ready to use, but if you need to thin use water only. If you have
never worked with paste filler before, I suggest you start with the oil based type
and thin it (if needed) with mineral spirits. The oil based filler thinned with mineral
spirits will set up slower and give you more time to work. If the filler sets up too
quickly and sits on the surface too long, the excess will be very hard to remove
and you will have to dampen a rag with solvent to remove it. this often pulls the
filler out of the pores and you have to start all over again. Thinning with naphtha
makes the filler set up quicker, only use this solvent once you get used to
working with filler, it will speed up application time. Water based filler sets up very
quickly.
Apply the filler with either a old stiff brush or pour it on and work it down into the
pores with an old credit card or piece of plastic laminate. Work on small sections
about 2 ft. square. Do not try to apply filler to the whole piece. By the time you
finish, the filler would have dried so hard, that it will be very hard to remove. Let
the filler sit until it hazes over (turns dull). Then, using a coarse cloth like a piece
of burlap, wipe off the excess working against the grain, trying to cut the filler off
at the surface. Once most of the excess is off, take one last pass with a piece of
lint free cheesecloth lightly wiping with the grain. Then let the filler dry overnight.
The next day, inspect the surface by shining a light down onto it. You should be
able to detect any filler that has remained on the surface. using 320 grit paper,
lightly sand with the grain to remove any of the remaining filler that is on the
surface. The light should also detect any pitting. If you see any pits, this means
the pores are not completely filled. You will have to apply the filler a second time
in order to completely fill the pores. This is rare and only needed when the pores
are exceptionally large.
After the filler has been applied, you may then proceed with the application of
your finish.
IMPORTANT NOTE! PASTE FILLER SHOULD ONLY BE USED UNDER TOP
COAT FINISHES SUCH AS LACQUER, POLYURETHANE, VARNISH, WATER
BASED FINISHES ETC.
DO NOT USE UNDER PENETRATING FINISHES SUCH AS OIL VARNISH
BLENDS LIKE WATCO DANISH OIL, TUNG OIL, OTHER PURE OILS OR THIN
OIL WAX FINISHES.
PLEASE TEST ALL THE ABOVE PROCEDURES ON SCRAP BEFORE YOU
APPLY THEM TO A GOOD PIECE OF WORK

Filling wood grains with a paste wood filler
Some woods have an open grain that makes it difficult to produce a smooth
finish. To avoid this problem it is necessary to apply what is known as a grain
filler prior to the application of wax or polish. In this article, Mac Simmons
describes how to get the best finish using paste fillers.
Take a look at your skin; the small holes you can see in it are called pores. If you
were to look at different species of woods you will find that some woods have no
pores (or "grains"), some have small pores and others have larger pores. Woods
with small pores are known as "closed grain woods" while woods with larger
pores are classed as "open grained woods."
Depending on the wood you are using and the type of finish you are trying to
achieve, you may have to fill the wood's grain to get a satisfactory finish. Closed
grain woods are normally not filled and in some cases, neither are open grained
woods. It really depends upon the type of finish that you want. However, to
achieve a "Piano Finish" (or Full Finish) it is necessary to fill these grains using a
wood paste. A full finish is when the grains of the wood are completely filled and
then leveled with the wood's surface, making the wood easier to finish with less
coats of wax (or whatever the final finish is). By filling the wood grain you will
save both time in finishing and money on your materials, because when the grain
is filled (and therefore the filler and the wood's surface are smooth and level) you
will use less coats of the elected finish (wax, varnish or whatever).
Paste Wood Fillers are made up of various materials such as Calcium
Carbonate, Barium Hydroxide, Barlite, Silica and, in the case of colored paste
fillers, paste colorants are added for colors. There are two different types of filler:
Oil-based and water-based fillers. Oil pastes have an alkyd added to the filler,
while water based fillers include a glycol. Oil type fillers take longer to dry than
water-based fillers and can be cleaned up using Naptha (for water-based fillers,
you can dilute or clean up with water).
Paste wood fillers come in different colors and can be used to either match the
wood's natural colors, or as a contrasting color, depending on the finish that you
are trying to achieve. As well as the colored pastes, you can also use a natural
paste. This is typically used on lighter colored woods and can also be mixed with
other oil-based fillers to make other colors. Further, you can add universal
colorants to the oil-based fillers (particularly the natural filler) in order to more
closely match the color that you want. For water-based fillers you can add dry
powder pigment to make your own colors.
Having chosen the type (and color) of filler, it is time to apply it to the wood. The
preferred technique used to apply the filler varies depending on who you talk to.
The filler can be applied with a brush, spread out with a plastic scraper or a cloth.

Whichever application method you chose, you should apply the filler with a
circular motion in order to ensure that the filler is successfully packed into the
grain.
As you first apply the filler you will notice that the filler has a glossy sheen that
begins to dull after a few minutes. Once the filler dulls it begins to harden. At this
time, you should remove the excess paste before the filler becomes too hard as it
is very difficult to remove then. Because of the limited time before the paste dulls,
it is important to work on a small area at a time.
To remove the excess filler, use a plastic scraper, an old towel or a nylon
scrubbing pad (experiment with all three to find one that suits your style of
working). Remember, the more filler you leave on the wood, the harder it will be
to sand off the wood later.
It is best to practice on a scrap piece of open grained wood before you try
applying the paste for real. This will allow you to get used to how the paste wood
fillers really work without risking your latest project. As well as testing the filler
paste application technique, take the time to sand off this scrap piece of wood.
This will allow you to test the final finish (wax or whatever) to make sure that the
end result is what you expect.
In many cases, depending on the size of the open grains and the type of wood
you are using, you will have to do two fillings in order to get the filler level with the
surface of the wood. Once you have filled the grains and removed the excess
filler, sand the surface smooth and then clean up the surface with a tack cloth to
remove sawdust or other residue. You are now ready to either stain the wood or
apply your clear coating (varnish, wax and so on). You can apply almost any type
of finish, but if you have any doubts, consult the manufacturer of the paste.

Wood stains
Wood stains should be used to enhance to natural color of a wood, rather than to
try and hide or obliterate it. If the latter is your goal then the best bet is to use
paint, not stain. There are various types of stain and choosing the right one can
appear to be a rather confusing decision. However, what it really boils down to is
the following:
• it should be easy to apply
• must be compatible with the finish you have in mind
• must dry within a reasonable amount of time
• should maintain its color without fading
Most wood stains are designed to soak into the wood, but there are exceptions to
this rule. Most notably, external wood stains form a thin film on the surface -- not
unlike paint -- in order to protect the wood. This is why most stains that you'll find
your local store are classified as indoor stains, not outdoor ones. However, many
indoor stains are suitable for use outside as long as the wood is subsequently
protected by several layers of varnish.
Water Stains
Water stains come as a powder that must be mixed with water. These are the
cheapest of all stains but are not typically available in the large home
improvement stores. Instead, you will probably have to buy them through a mail
order finishing supplier. These stains are only supplied in a few colors -- Vandyke
crystals (brown), mahogany (warm brown) and nigrosine (black) -- are the most
common. To attain the particular color that you need it will be necessary to mix
these three together. To change the depth of the color, adjust the powder to
water ratio.
Applying a water stain
Apply the stain to the wood with a cloth or paint brush. A brush is best if you are
staining carvings, moldings or any other irregularly-shaped item. However, a
cloth holds more stain and, for flat surfaces, is much easier to use. Before
applying the first layer of stain, lightly wet the wood. This will help to produce an
even spread of the stain. Make sure that you have enough for the whole job: it is
far better to throw away the excess than it is to try and match the previous
batch's color precisely.
Don't pour the stain on, but be very generous its application. Water stains dry
very slowly, so you should rub-off the excess stain using a paper towel or a lint-
free cloth. Once the stain has dried, apply more stain to any areas that have

become too light. Note: water stains appear to dry in about 40 minutes but a
second coat should not be applied for at least 12 hours.
Oil dyes usually come ready mixed and are classified by the type of wood they
most closely match (such as oak, mahogany and so on). These color names
should be used as a rough guide only and should not stop you from
experimenting. For example, the bird table (Vol. I, Issue 8) was stained with a
cherry-based color, even though it was made out of pine, thus giving it a deep
red color more in keeping with its new habitat.
To lighten the color of a particular dye, thin it out using an appropriate solvent. Oil
dyes are well suited to outdoor applications as they take an average time to dry
(between 30 -40 minutes); water stains dry too slowly and alcohol stains dry too
quickly for large applications.
Applying an oil dye
Oil dyes can bite deeply into uneven grain, such as is found with beech, and this
can produce an uneven, patchy finish. To overcome this problem it is imperative
that the wood be prepared carefully and is well sanded. Oil dyes can be applied
using a brush or a cloth.
Alcohol-based stains are the choice of most professional woodworkers because
of the wide range of colors available. They are sold in powder form and must be
mixed to the right color. Because they are alcohol-based, these stains can also
be mixed with shellac polish for color matching and minor touch-ups during the
polishing process.
Alcohol stains dry very quickly (typically in about five minutes) and are therefore
ideally suited to spray application. However, the fact that they dry so quickly can
also cause problems and a patchy finish is not unknown.
Applying an alcohol-based stain
As mentioned above, the best way of applying this stain is to use a spray gun.
Apply the stain sparingly, or the dye will be removed by the polish. You can also
dip with alcohol stains, ie put the object into the container of stain. The best
approach to this is to dip the object in and leave immersed for about five minutes.
Whichever application method you decide to use, it is a good idea to add a little
transparent French polish to the mix as this will help to adhere the stain to the
wood.
This type of stain is made from finely ground pigments. These do not dissolve as
dyes do. Pigment stains add a semi-opaque color to the wood and are best used
to disguise the original look and feel of the wood (such as on low-grade lumber).

Applying a Pigment Stain
Apply the stain with a cloth or brush and be very liberal with the amount of stain
applied. However, once the entire surface has been coated, wipe off any excess
stain with a soft lint-free cloth. Otherwise the end result may be patchy.
Wax stains are essentially a ready-made mix of finishing wax and a particular
stain. One very popular wax stain is an "antique" pine wax. Because this is a wax
stain it cannot be used under any other type of finish, such as a shellac. Think of
the wax stain as being a short-cut solution, combining the stain and waxing
process into one. As such, it is not as good a solution as using a separate stain
and wax or shellac. Once you have applied a wax stain, there really is no going
back: sanding down the waxed surface (in order to remove the layer of wax) is
not recommended as the wax simply clogs-up the sand paper. Therefore, these
stains should only be used in extreme cases when you really cannot use another
product.
Applying a wax stain
Apply the wax stain as you would a normal finish coat of wax (see Wax option in
Finishes Department).

Making Your Own Oil Stain
Sometimes it is impossible to find a stain that is the exact color you need. This is
especially true if you are building a piece of furniture and want to match the color
to an existing piece. No matter how many colors stain manufactures offer, these
companies will never be able to supply us with the infinite number of color
combonations needed to suit every job. When I ran into this problem, I always
remember saying to myself, "If I only knew what was in this stain, I could make it
myself". Over the years through research and a lot of experimentation, I have
come up with an excellent home brewed pigmented oil stain which I would like to
share with you.
Most commercial pigmented oil stains contain a few basic ingredients. First I will
list each of these ingredients and give you a brief description of what purpose
each serves in the make up of the stain.
1. Pigment (Color) The pigment is what actually gives the stain its particular
color. Toady most pigments are synthetic finely ground powders. Years ago
artists and cabinet makers made their own pigments by drying and then grinding
natural materials. For example: to make a red pigment, an artist would take red
rose petals, let them dry out completely and then grind the petals to a fine red
powder.
2. Vehicle. Something needs to be added to the pigment in order to carry it onto
the workpiece and distribute it evenly across the surface. If you were to apply a
dry powder, it would be impossible to evenly apply it. The vehicle most commonly
used in an oil stain is some type of petroleum based solvent. In many cases this
is a mineral spirits.
3. Binder. If the stain just consisted of pigment and vehicle, it will not work very
well. You see because the vehicle is a solvent it will evaporate shortly after the
stain has been applied to the surface. When that happens, the pigment will return
to its powered form and just blow off the surface. Therefore, we need to add
something to the stain formula to hold the pigment in the pores and on the
surface of the wood after the vehicle has evaporated. An oil is usually used to
accomplish this task. Most commercial manufactures use linseed oil, however
some use tung oil and market their stain as a tung oil stain. Linseed oil will never
evaporate, thus it will hold the powered pigment in place. Also, because linseed
oil is thicker than a solvent, it will add more body to the stain.
4. Drier. Last, stain manufactures add a drying agent to the formula to help it dry
quicker. Usually this is some type of metallic drier like cobalt. This is sold

commercially under the name Japan drier. It can be purchased in art supply
stores, some paint stores and some mail order woodworking supply houses.
The following formula should yield about 1 quart of oil stain. You do not need to
add Japan drier to this formula because because the Japan color and boiled
linseed oil contain drier. If you want the stain to dry a little quicker, you can add
some additional Japan drier, but no more than 1/2 ounce. If you add too much
drier, the stain will not work properly.
1.Vehicle. Quart of mineral spirits or pure gum turpentine. This will be your
vehicle that will carry the pigment onto the surface. Either of the two solvents will
work well, but if you want to reduce the odor of the stain, use mineral spirits.
2.Binder. 7 Ounces of boiled linseed oil. Boiled linseed oil will be your binder
to help keep the pigment in the pores and on the surface of the wood and also
add body to the stain. Use boiled linseed not raw linseed oil. Boiled linseed oil
has Japan drier added to it and will help the stain dry quicker. Raw linseed oil will
never dry.
3.Pigment Max. of 4 ounces of Japan color(s). Japan colors are very similar to
the oil paints that artists use to paint pictures (the type that are sold in tubes in art
supply stores). The main difference between artists oil paints and Japan colors is
that Japan colors have driers added to it. Japan colors are also finely ground
pigments suspended in a linseed oil base. However, Japan colors are too thick to
use as a stain directly out of the can. They are available in many colors including
earth tones that will match the natural colors of many woods, and are also
available in brilliant colors like reds, greens, yellows and more. Any of these
colors can be intermixed, but you should not use more than a total of 4 ounces of
Japan colors to the formula. Adding more Japan color will start to make the stain
too thick and it will be hard to apply.
Remember, the Japan color and boiled linseed oil already contain driers,
therefore you do not need to add any Japan drier. However, if the stain is not
drying properly, or not quick enough, you can add some Japan drier, but NO
MORE THAN 1/2 Ounce.

EARLY AMERICAN MAPLE FINISH
Maple, if left unstained, takes on a yellow tone over time, gradually deepening to
a darker yellow-reddish brown. This is the color that you see on maple pieces in
museums and is the color most cherished by collectors. Figured maples are the
most striking, since the figured areas deepen in color against the lighter wood
surrounding it.
Step One - Staining
To match antique maple finishes start with the undertone color. I use a honey-
amber water dye available from suppliers of dry dyes. Other names like Early
American Maple or Honey-Maple will work. Whichever dye you work with, it
should be a predominately yellow tone with a hint of red and black. Before
dyeing, sand the wood up to 150 grit and raise the grain by sponging it with
distilled water. When dry, sand with 220 grit. This minimizes the raised grain from
the application of the dye. The concentration of the dye should be such that it
leaves the wood a honey-straw color when applied. It's impossible to give precise
mixing instructions since all dye powders vary in concentration. The best I can
say is that I usually start with the manufacturer's recommended mixing ratio and
then dilute that by the same amount of water. If this is too light add more dye. If
it's too dark, add more water. Apply the dye by flooding all surfaces with dye by
brush, rag or spraying. Let it dry several minutes, then blot up the excess. This is
where practicing on sample is important. The goal of the dyeing operation is to
establish the primary undertone of color. The color of the wood when dry should
be light straw. Let the dye dry at least 8 hours and then scuff sand the surface
very lightly with 320 grit sandpaper before proceeding to the next step.
Step Two - Oiling
This step adds depth to the dye and kicks out figure in the wood. Apply a small
amount of a drying oil like linseed or tung to the surface of the dyed wood. About
a thimble full per square foot is all that's needed. Don't flood the surface. Wipe
the oil on with a rag and let it dry several hours before proceeding to the next
step. Caution: Always dispose of the rag by soaking it under water then letting it
air dry on the side of a trash can.
Step Three - Sealing
The wood needs to be sealed before glazing. I use one or two applications of a
two lb. cut shellac made from dry flakes. If you use only one coat of sealer, the
subsequent glazing step will darken the wood significantly. Two coats of sealer
and the glaze has less of a tendency to "take". You will need to experiment to get
the feel for the difference. I usually use two coats when I want a very subtle color
change from the glaze and one coat when I want a dark "dirty" look similar to

very old pieces. I use dark shellacs like garnet or a dewaxed dark. Apply one
coat by brush or spray and let it dry thirty minutes. Then take some 320 grit
sandpaper and very lightly scuff sand all surfaces to knock down any raised
fibers. Then follow up with a light rubbing with maroon synthetic steel wool.
Step Four - Glazing
Glazing establishes the final color of the wood and darkens the pores and any
figured areas. I make the glaze by taking one cup of glaze and adding 2
teaspoons of burnt umber, 1 teaspoon Venetian Red and 1/2 teaspoon black. Mix
the glaze thoroughly and check the color by smearing a small amount on some
white paper. It should be a chocolate color. Apply it to all surfaces of the wood
with a stiff bristle brush. Wipe the glaze off, leaving only enough on the surface
as a thin veil of color. In corners and crevices, you can leave more glaze to
simulate an aged appearance. Let the glaze dry according to the manufacturers
instructions. For the Behlen glaze I let it dry 5 hours. Remember that most glazes
do not dry to the touch so it's normal for the surface to feel tacky. The nice thing
about glazing is that if the color is not what or if its too dark you can remove it
with mineral spirits and not affect the finish underneath. Just wipe it off and apply
a different colored glaze.
Step Five - Topcoats
The glaze needs to be sealed in with more finish. I apply another coat of a two lb.
cut shellac over the glaze with a brush or spray gun. I don't use a rag since this
tends to pull off the glaze from the surface. If you want an all shellac finish apply
another coat or two of shellac. For more durability, apply a coat of oil based
varnish or lacquer. I don't recommend polyurethane since it may not adhere well
to the shellac.
Step Six - Waxing
When the final coat of finish is dry, rub it out using 0000 steel wool and dark wax
like Antiquax Brown or Minwax. I usually thin the wax with mineral spirits to make
it easier to apply. This cuts down the gloss slightly and imparts a mellow, satiny
sheen.

Tips on Finishing Wood Furniture
Each piece of solid wood furniture is an original, the result of nature's handiwork.
Every item has its own grain pattern and color, according to the character of the
wood. Light and dark areas blend during the finishing process to produce the
uniquely attractive look of real wood furniture.
While you can paint, varnish or finish your furniture in other ways, one of the
most commonly used finishing processes is staining and top coating. To help you
get the best results, here are tips to help you finish your furniture using this
method.
Most unfinished pieces need additional fine sanding before finishing to avoid
surface fuzz or roughness that will show when the stain is applied.
• Always sand in the direction of the grain.
• Oak should be sanded to medium smoothness with medium-coarse 120-
grit sandpaper. Other woods should be sanded with medium sandpaper,
generally no finer than 150-grit.
• If wood fill has been used to cover nicks or holes, be sure the residue has
been sanded well. If not, the area around the fill will not stain properly and
may have a blotchy look.
Stains contain colored pigments that often settle to the bottom of the can and
must be thoroughly mixed before application. It may take as much as five
minutes to thoroughly dissolve the "mud" so that the color remains consistent as
the contents are used up.
To apply stain, you can use almost any type of rag (cotton works best) cut
approximately 10 inches square (larger ones sometimes get in the way). Foam
brushes also work well. Stain can be applied in any direction, usually cross-grain
first.
• Read and follow the directions on each container. The manufacturer
knows its products and will tell you how to get the best results.
• Do a test "doodle" on the piece first on the back, bottom or other
inconspicuous area check the stain color before proceeding. Once the
stain on the test area has dried, apply a coat of the clear finish on it. If the
stain looks evenly coated and you like the look, one coat staining is
adequate. If the stain is too light or uneven, a second coat of stain may be
needed before the top coat is applied.
• Pine, aspen and some other woods stain more evenly if a sealer coat is
applied before the stain. Check with your dealer to see if this is right for
your application.

• Stain one surface at a time, and do the corners and uneven areas first. Do
these areas when the applicator has the most stain on it so you can get
full penetration. You can then spread the rest on the flat areas.
• As you stain each area, wipe with the grain to remove excess stain, then
move to another area. As you finish, go back over the entire piece with a
clean rag to pick up all excess stain and wipe the surface dry.
Most clear top coats are designed to be wiped on. You can use a brush, but
wiping helps prevent runs. Apply at least one coat of clear finish to all surfaces,
both seen and unseen, to prevent cracking as the piece continues to dry out over
the years.
• Do one small area at a time, applying the top coat with the grain. In
corners, you may need to pat the coating on or apply with a circular
motion to get full coverage. Just be sure to wipe off any excess
immediately with the grain.
• Allow coating to dry. The surface will feel gummy if not fully dry, and
drying time will vary depending on weather conditions.
• Sand the dried coating with very fine #400 or #600 wet/dry sandpaper to
remove any fuzz. Wipe sanded piece with a tack cloth or a rag dampened
in mineral spirits to remove debris. (Be sure to dispose of the rag
properly.)
• Feel the piece with your hands and sand any areas that still seem fuzzy.
Fuzz must be removed before applying additional coats. It will not go away
until you take care of it.
You are looking for a consistent sheen. If after two coats you have it, and if water
protection is not a major concern, the job is done. If you have uneven sheen,
apply additional coats, sanding lightly and wiping with a tack cloth between each
application.
If water resistance is a goal, we recommend four coats of finish on the surface
area of concern, usually the top.
Remember to always sand and remove debris with a tack cloth between coats.

Touching Up Minor Scratches
There are a number of methods you can use to touch up scratches in the finish
on a piece of furniture. The method I use, depends upon how large (deep, wide
and long) the scratch is. Before we discuss this method, I feel it is necessary to
define exactly what a scratch is and how to determine the extent of the damage
caused by the scratch.
A scratch occurs when the finish and color in the finish (or below the finish) has
been removed. On the other side, when not only the finish and color has been
removed, but also some of the wood below, this is not considered a scratch, it is
a gouge. Gouges are more difficult to repair properly, because you need to fill the
void left where the wood once was and add color and finish back into the spot. I
will discuss the method of repairing a gouge in a future document on my
homepage. The following method described will be effective on minor scratches
(NOT GOUGES).
Correct lighting is an absolute necessity when you are performing touch up
work. Without the right light, you will not be able to determine the extent of the
damage and have a difficult time trying to match color and sheen. You must have
as much light as possible around the workbench you are going to use to do the
touch up. The light must be as close as possible to natural daylight and the light
should not be directly over the work surface. I use two different types of light
sources to help me in achieving a good touch up job.
First, for the main (fixed) lighting for my workbench I use (4) 6 foot fluorescent
(daylight bulbs) mounted to the ceiling above the workbench. Daylight bulbs are
much better at simulating the natural daylight conditions (created by the sun)
than the standard clear or cool white fluorescent bulbs found in most fixtures.
Daylight bulbs will enable you to determine the true color of the area you must
touch up. These bulbs can be purchased at specialty lighting stores or from
industrial warehouse suppliers. Check your local Yellow Pages for sources.
My secondary source of light is a regular (incandescent) light bulb that is not
mounted directly over the work surface, rather above and behind the bench. See
illustration below. Reflected incandescent lighting is a much more effective
source for picking up minor flaws like small scratches and other defects that are
normally hard to see with the naked eye under direct light.
With your main fluorescent (daylight bulbs) still on, turn on the incandescent light
bulb to examine the scratch and determine the extent of its damage. make sure
the light is shining down on an angle so it's reflecting off the surface. Once this is
done, turn off the incandescent bulb and use the fluorescent bulbs only. From
here on, it is usually only necessary to use this lighting to determine color, but if
needed, you can switch back on the incandescent light.

The Touch-Up Process
If the scratch is very superficial and the finish does not have a high gloss sheen,
one of the quickest and best methods is to use a felt tip marker called a scratch
remover. These markers are available in various colors such as: Amer. Walnut,
Fruitwood, Dk. Brown Walnut, Light Mahogany, Med. Mahogany, Pine, Maple,
Cherry, Golden Oak, Natural and more. You are almost sure of finding the
correct color that you need. To use, just color in the scratched area with the pen
and that's it! The one drawback about these markers is that you usually cannot
apply a finish over it. The solvent in the finish will often lighten or completely
remove the color left by the marker. Therefore, I only use this method when the
scratch is so small that the color alone will hide it without also having to apply a
finish to match the sheen.

The method I most often use is one of adding a color to a finish to touch up the
scratch. Once this is done, (if needed) I then use a very fine artist's brush to paint
in the grain on top of the scratch.
The finish I usually use is padding lacquer. This is compatible with most furniture
finishes. If you make a mistake on any finish other than shellac, you can remove
the finish by wiping it off with de-natured alcohol. To add the color to the padding
lacquer, I use finely ground powders that are soluble in padding lacquer. These
are called Blending Powders. They are available in many different colors such
as: Honey Maple, Red Maple, Red Mahogany, Med Mahogany, Dk. Brown
Mahogany, Blond Oak, Light walnut, Med. Walnut, Dk. Walnut and more.These
powders can be inter-mixed to achieve virtually any color.
Select the proper color or combination of colors of blending powder to match the
background (not grain) color of the finish where the scratch is. Take a small
amount of padding lacquer and slowly add the powder(s) to the padding lacquer.
The powders should readily dissolve, but make sure you mix anyway. Some
colors may not dissolve as easily as others. For those colors, it's best to dissolve
them first in a little padding lacquer solvent, then add this solution to the padding
lacquer. Experimentation is necessary here in order to match the color as close
as possible. Once you are satisfied with the color, apply the padding lacquer into
the scratch using a fine artist's brush. Let this dry at least overnight. The next
day, examine the overall color and appearance of the touch up. If it looks
acceptable, leave it alone, you are done! However, if the area of the scratch
appears a little too light, and the grain seems to be missing from that spot, you
must apply a second color. Using the same process, select the color or colors of
blending powder to match the color of the grain. This is usually darker than the
first (background color) you applied. The grain is usually more opaque than the
background, so you will have to add more powder in proportion to padding
lacquer than you did when mixing the background color. Mix and dissolve in the
same manner as described above. Now, use a very fine (pointed) artist's brush to

paint in the grain. Try to connect the grain lines with the surrounding grain and
feather in the lines to blend and soften the sharp edges made by the brush. Once
the grain has been painted in, let sit overnight. It best to apply a little straight (un-
tinted) padding lacquer over the painted grain lines. The next day, inspect the
touch up using the incandescent light. If the area looks too glossy compared to
the surrounding surface, buff VERY LIGHTLY WITH 0000 Steel Wool. Do not rub
too hard or you can remove the grain lines that were painted in.
There are a number of other methods used for touching up scratches, but this is
the one I most often use and seem to have the most success with.
Padding Lacquer, Padding Lacquer Solvent, Blending Powders, Artist's Brushes
and Steel Wool can be purchased.

Super Smooth Oil Finish
Many woodworkers like to use oil finishes instead of lacquer, varnish,
polyurethane or waterbased finishes because oil finishes are much easier to
apply and much more forgiving when mistakes happen. However, one of the
main drawbacks of an oil finish is that one cannot achieve a glass smooth finish
on open pored woods (like oak, mahogany etc.) like one can when applying a
lacquer, varnish poly or other topcoat finish. When using a topcoat finish on open
pored woods, you can either build up the finish by applying multiple coats and
sanding back down until the pores have been filled or you can first apply a paste
filler to fill the pores, then apply a topcoat finish. Oil finishes are thinner and
contain much less solids than topcoat finishes, therefore it would not be practical
to apply multiple coats and sand back until the pores have been filled. This would
take much too long. Also oil finishes need to penetrate the wood in order to work
properly. Once the finish penetrates, the solvents evaporate and the resins
solidify actually making the wood itself harder. If the pores have been filled with
paste filler (which is silica) a very finely ground glass, the oil finish will not be able
to penetrate the filler.
While leaving the pores open when using an oil finish is OK and many times
even desirable on some pieces of woodwork like a chest of drawers, chair or
clock, for other pieces like conference tables, dining tables, pianos, jewelry and
music boxes may look much better if the pores were filled so a glass smooth
finish can be obtained. In the end, it still comes down to solely a matter of taste.
Many years ago, I read somewhere that one could wet sand some oil finishes to
achieve a higher sheen. The article mentioned nothing about whether this was to
be done with open or closed pored woods. At the time I was using an oil finish
that I still use quite often today, it is called Watco Danish Oil. This finish is very
easy to apply and leaves a beautiful satin to semi-gloss sheen, depending on
how many coats are applied. It should only be applied to raw wood so it can
penetrate properly. It is available in a natural as well as many colors such as
shades of walnut, cherry, golden oak and others. I decided to run some tests
using the Watco natural color on various hardwoods. I first tried cherry and
maple. First I prepared the wood in my normal manner by sanding with coarse,
medium and then fine paper. I then applied a generous amount of Watco Danish
Oil to the surface and started to wet sand with 600 grit silicon carbide wet or dry
paper. After applying 3 coats of the oil (one per day) and wet sanding each coat,
I compared the wet sanded pieces with samples of maple and cherry that I just
applied three coats of oil (without wet sanding). The results were disappointing. I
did not see any signs of the wet sanded samples having any higher sheen than
the pieces that were just oiled. If anything these pieces were a little duller than
the samples that were not wet sanded. Next I ran some tests using oak and

walnut. I proceeded in the same manner as described above, but this time the
results were much different. The wet sanded samples did have somewhat of a
higher sheen, but what was more impressive to me was that the surface of the
wet sanded pieces of oak and walnut were much smoother than the samples of
oak and walnut that were just oiled with no wet sanding. It was then that I
realized what had happened, why the surface was smoother and why the sheen
had increased. By wet sanding, the Watco Danish Oil mixed with the sawdust
that was being created by the sanding. This created a sort of slurry or paste. As I
continued to sand, the paste was forced down into the pores of the wood.
Basically I had filled the open pores of the oak and walnut by using its own
sawdust in combination with the oil which worked as not only a finish but also a
binder to hold the sawdust down in the pores and level the surface. The reason
why a higher sheen was achieved was simple. Once the pores are filled, much
more light reflects off the surface in contrast to when the pores are open the light
gets trapped in all the nooks and crannies of the open pores. The author of that
article I read must have been using open pored wood.
Although the sheen was somewhat higher by wet sanding on open pored wood,
there was not a dramatic difference. I believe the author of that article missed the
most important advantage of wet sanding. That is, of course, being able to fill the
pores of wood to achieve a glass smooth surface when using an oil finish. Now
the term glass smooth may be somewhat confusing. many people associate this
with producing a high gloss finish. This is not true. You will not get a high gloss
sheen (like you would when using lacquer, varnish or other topcoat) when using
any oil finish. The term glass smooth refers to how level the surface is and how
smooth it feels.
The Process
Over the years I have developed and refined the process of wet sanding on open
pored wood. The following is the method I currently use:
1. Prepare the wood by sanding with coarse (100 grit), medium (180 grit), and
fine (240 grit) sandpaper. Make sure to wipe off all sawdust after sanding.
2. Apply a generous amount (almost flood the surface) of Watco Danish Oil to the
surface.
3. Over the years I have found that it is better to use 320 grit silicon carbide wet
or dry paper rather than 600 grit. The 320 grit paper will create the paste quickly
and the paste will fill the pores better. Immediately after the Watco Danish Oil
has been applied (while it is still wet on the surface) wrap a piece of 320 paper
around a sanding block and start to wet sand with the grain. Continue to oil and

wet sand until you feel enough of the paste has been worked down into the
pores.
4. There will still be a substantial amount of paste left on the surface. Don't wipe
it off right away. Let the surface dry for about 10 minutes, then wipe off the
excess paste using a lint free rag. Wipe against the grain, trying to cut the paste
off at the surface, this way the paste in the pores will remain and not be pulled
out. Let dry overnight.
5. Before you continue, there may be a small amount of paste that is still on the
surface. This needs to be removed, if not visible now, it will be when you apply
additional coats. Because this has dried overnight, you will need to sand it off.
Take another piece of 320 grit paper, wrap it around a block and DRY SAND
lightly with the grain. You need only to take a few passes, just enough to remove
any excess paste that has remained on the surface.
6. I have also determined that in most cases wet sanding need only be done on
the first application. Therefore, you need only wet sand once (in step 4). Now it is
just a matter of applying additional coats of Watco (without wet sanding) until you
achieve enough protection and the desired sheen. Usually I apply three to four
additional coats after the first wet sanding coat. I let each coat dry overnight and
very lightly scuff between coats with 0000 steel wool.
7. After the last coat has been applied, I let the finish cure about 1 week and
apply a coat of quality paste wax. That's it. Try it, I am sure you will be very
happy with the results.

Finishing Oily Woods
Traditionally, some of the world’s most colorful woods like rosewood, teak, ebony
and cocobolo are often used to build musical instruments, decorative boxes,
jewelry, accents and trim on furniture. Recently though, many of these woods are
being used to build whole pieces or sets of custom furniture. As more are being
used by not only professional but amateur woodworkers, many people are
running into difficulty when it comes to finishing of these woods.
The main problem lies in the natural oils and resins that are contained within
woods like rosewood, teak cocobolo, etc. The oils create two main problems.
1. When oil based finishes like varnish, polyurethane, Danish oil finishes, and
others are applied over the wood, the finish sometimes takes a very long time to
dry. All of these type of oil based finishes dry by absorbing oxygen. The natural
oils and resins contained in exotic woods will slow down the drying time by
retarding the absorption of oxygen into the finish. Sometimes, if you happen to
get stuck with a very oil piece of wood, the finish may stay tacky for weeks.
2. Adhesion. While other finishes like nitrocellulose lacquers, pre-catalyzed
lacquers and water based finishes dry better over oily woods, the oils may
prevent these finishes from adhering properly to the raw wood.
Below, I have included a few different types of finishes and finishing techniques
that I have had success with, but first, before applying any finish, you must
perform the following steps to remove any oils that may be on the surface of the
wood.
1. After preparing the wood by usual methods of sanding, clean all sawdust off
the surface.
2. Using a rag lightly dampened with a quick evaporating solvent like acetone,
lacquer thinner or denatured alcohol, wipe the whole surface down. This gets all
the natural oils off the surface of the wood, but you must work quickly to apply
your first coat of finish, for if you don’t more natural oils will bleed onto the
surface.
While many exotic woods are rarely stained, because the natural color of the
wood is so appealing, all have to have some type of finish applied to protect
against abrasion, moisture, dirt, dust and sunlight. Over the years, I have had the
opportunity to try many finishes and finishing techniques over oily woods, and I
have had the most success with the following:

1. Shellac Sealer / Natural Resin Varnish Finish.
If you are going to be finishing a piece of furniture that is going to get a lot of use,
(like a table) you will want to use some type of topcoat finish that will protect it
against abrasion, as well as spills, dirt and dust along with making it easy to
maintain. This finish has worked well for me. After wiping down the surface with
quick evaporating solvent, (acetone, lacquer thinner) apply two thin coats of
shellac. I use 3 lb. cut clear shellac and reduce it 50/50 with denatured alcohol.
Apply the two coats by either spraying or brushing with high quality natural or
china bristle brush. Let first coat dry about 2 hours before applying second coat.
This will seal the surface and prevent any more natural oils in the wood from
bleeding back to the top. Let these two coats dry at least 2 days. Lightly scuff
sand the shellac with 400 grit paper. And wipe dust off surface. Next, apply 2 to
three coats of a natural resin varnish. DO NOT USE A POLYURETHANE OR
ANY VARNISH THAT HAS POLYURETHANE IN IT. IT MAY NOT ADHERE TO
SHELLAC. I use a varnish manufactured by H Behlen & Bro. This is called
Behlen’s Rock Hard Table Top Varnish. It is a natural resin varnish that contains
no poly. Reduce each coat approx. 20 percent with Behlen’s Rock Hard Reducer.
This works out to 4 parts varnish and 1 part reducer. I use a foam brush to apply
this varnish, but if you are used to using a bristle brush and get good results,
stick with it. Let each coat dry at least 24 hours (longer if you are in a humid
area). Scuff sand very lightly with 320 grit paper between coats. After the last
coat is applied, if the sheen does not look even, you may apply a few additional
coats until you achieve a uniform sheen. This is a gloss varnish, if you wish to
obtain a semi-gloss or satin finish, simply wait about 2 weeks for the finish to
cure and then rub out with 600 grit paper and rubbing oil or use 0000 steel wool
or Scotchbrite or Sunbrite (these are synthetic non-woven abrasive pads that
replace steel wool. Purchase the fine type. The light gray color is usually
equivalent to 000 or 0000 steel wool. If desired, you may also apply a coat of
high quality paste wax after rubbing.
2. Shellac / Wax Finish
On furniture or wooden objects that don’t need maximum protection such as a
wall clock, dresser or just trim, I have often just used a few coats of shellac and
the applied a coat of paste wax over it. After wiping down the surface with quick
evaporating solvent, (acetone, lacquer thinner)
apply four thin coats of shellac using the same mixture and process as described
in the previous process. Let the four coats of shellac dry at least 3 days, Then
sand lightly first with 320 grit paper to remove any dust nibs and smooth out any
brush marks. After sanding with 320, use 600 grit to smooth the surface and
leave a mellow sheen. Wipe off dust and apply a coat of high quality paste wax
such as Briwax or Antique Wax. Apply the wax with a soft lint free cotton cloth, let
it haze over, then buff it out with a clean cotton cloth. This technique will yield a
very mellow, low luster finish that is beautiful not only to look at but to touch.

3. For A Natural Look- Simply Wax
When I have to finish a decorative wooden object that will not be handled much,
therefore needs little protection but also has to look and feel as close as possible
to its natural appearance, I simply apply a paste wax only. Here the color of the
wax is important. If you are finishing a lighter colored wood such as teak, use a
natural or clear colored paste wax so the natural color will not change much. On
the other hand, if you are finishing a darker wood, such as rosewood or
cocobolo, I suggest you use one of the colored colored waxes, such as Briwax. If
you use a light colored wax on dark woods, the wax may build in the pores and
make the pores appear light. Dark wax will blend in better with darker woods and
even accent the pores. Briwax comes in a number of colors. Along with clear, it is
available in Dark Brown, Light Brown, Antique Mahogany (reddish brown good
for rosewoods), Golden Oak and other colors.
REMEMBER. ALWAYS TEST FINISHES AND FINISHING TECHNIQUES ON
SCRAP BEFORE USING THEM ON YOUR GOOD WORK.

French Polishing
French polishing is one of the classic finishes for wood. Although French
polishing came to the fore in the late 19th century, the underlying premise of
using shellac has been used for nearly 4000 years. In this article we offer advice
on one particular French polishing technique, there are certainly many variations.
Shellac is sold as a ready to use coating in most paint and home improvement
stores and is usually sold as either a clear (blond) or amber (orange) color.
These ready to use variations come pre-mixed with Denatured Alcohol. It is also
possible to purchase "pure" shellac flakes that you can mix yourself. The
advantage of this latter approach is that it has a longer shelf life than the
premixed variations as once the alcohol and flakes are mixed together the wax
has life-span of about 12 months (depending on the temperature).
The "pure" Shellac flakes come in various types of flake and, as standard
contains a natural wax. However, while the inclusion of this wax can make
sanding easier, in some cases the shellac does not adhere to the wood surface
too well. To address this issue, you can also buy a de-waxed version of some
Shellacs.
When mixing - or buying - shellac you should look for the number of "cuts." Each
pound of Shellac flakes that is added to one gallon of Denatured Alcohol equates
to one pound cut. So, for example, if you were to dissolve three pounds of flakes
into one gallon of Denatured Alcohol, the result would be a three-pound cut.
Normally Shellac is not used over a three pound cut, but some manufacturers
sell "ready to use" four or five pound cuts. These should be reduced to a three
pound cut (or less) before application. Note: if you are spraying the Shellac you
should typically use a two pound cut, but do so at your own discretion having
consulted the instructions proved with your spray equipment.
When first learning the art of French polishing, we recommend that you use a
ready for use Shellac. You will also need to buy a bottle of Denatured Alcohol
and a good paintbrush, as it will be necessary to brush on three thin coats of
Shellac. Most ready to use Shellacs are three-pound cuts and you should reduce
this down to two lots of 1 1/2 pound cut by doubling the amount of Denatured
Alcohol.
To begin the process, use the brush to apply the Shellac to the wood ensuring
that you apply a good even coat to the entire surface. This first thin coat (the
"spit" coat) will dry very quickly under most conditions. [Note: If it does not dry
within an hour then the Shellac is probably bad and should be replaced. Remove
the sticky Shellac surface by applying more Denatured Alcohol.]

Once the first coat of Shellac is dry, apply a second coat. Then, once this is dry
apply the third coat. Once you have added all three coats, leave the Shellac to
dry overnight. The next day, use a 600 wet and dry sandpaper to smooth out the
Shellac and then wipe off the sanding dust with a tack cloth. You now have your
base coat for the French polishing.
Mixing the French polish used within the pad comes down to an individual's
choice. When first learning we recommend that you continue to use the 1 1/2-
pound cut that we used to created the base coat above. However, as you
become more proficient at this technique you may wish to experiment with lesser
and greater cuts.
Take a soft, lint free cloth - such as cheesecloth - and fold it into a ball (called the
"pad" or "rubber." Now apply the Shellac to the pad so that it is moist, but not
dripping, with Shellac. Tap the pad in the palm of your hand in order to disperse
the Shellac; the aim is to make sure that the entire front of the pad is damp. We
recommend that you consider wearing surgical-type rubber gloves before
beginning this process as it can be quite messy.
The best way to comprehend the act of French polishing is to imagine that the
wood's surface (with the base coat on it) is an airport landing field and that the
pad is a plane. What you are going to do is to practice allowing the plane (the
pad) to touch down on the field and then immediately take off again, without
stopping or even slowing down (if you were to stop you would damage the base
coat). As you "land" slide the pad across the wood's surface and then take off
again, working from left to right and then from right to left, overlapping each
stroke as you apply it. Slowly work up from the bottom to the top and then start at
the bottom again, ensuring that you have enough Shellac on the pad so that the
strokes are uniform. You can add a little lemon oil or cream polish to the pad to
help make it slide easier (although you should be very sparing with the oil).
Once you are satisfied with the wood's finish place the pad in a jar and close the
lid tightly. Allow the Shellac to dry for at least a couple of hours and then take out
the pad again. Add Denatured Alcohol to the pad and tap it in the palm of your
hand to disperse the alcohol to the front of the pad. Then lightly pad over the
wood's surface again. This process is known as "spiriting out" and serves to
remove the oil as well as further evening out the Shellac finish. The result will be
a far glossier, smoother finish.
Shellac resins come from the Coccus Lacca bug, indigenous to Thailand and
India, and are actually the insect's resinous secretions. Ironically, for a finish that
has such as dubious start in life, Shellac has many applications in today's world.
The resin provides a non-toxic, thermoplastic coating that is approved by the
food and drug industries as a coating on fruits (where the resin prevents molds
and spores) and drugs (where it acts as a slow release enteric coating on many

of today's medicines. The Shellac has excellent adhesive properties and can be
polished to a high gloss or rubbed out to a satin or flat sheen as desired.
PREPARATION FOR REFINISHING
Finishing wood enhances its natural beauty and protects it. A good finish is
usually thin and does not give the appearance of being enclosed in glass. A good
finish depends on preparing the surface properly.
Careful work takes time and good finishes can't be hurried. Work leisurely and
enjoy the results.
Oil finish
This is one of the most beautiful finishes for woods of good color and grain such
as walnut, mahogany and cherry. This finish does not require stain because the
linseed oil darkens the wood. If enough rubbing is done, the finish does not show
scratches or water marks and is heat resistant. This may require three weeks to
several months, but the furniture may still be used during the process.
Procedure
• Make a mixture of two parts boiled linseed oil and one part turpentine.
• Warm mixture by placing container in a pan of hot water. Use cold mixture
on grooved surfaces to avoid setting too quickly. Do not heat over direct
flame.
• Apply oil generously with brush or cloth, rubbing into wood until all the oil
is absorbed and continue to rub in oil until surface stays moist for several
minutes.
• Let stand for 5 to 20 minutes.
• Wipe off excess oil with soft, clean lintless cloth. Particular care should be
taken to get all traces of oil out of crevices before oil hardens.
• Rub each piece until very little oil remains — possibly 10 minutes.
• Dry at least 24 hours.
• Repeat process until there are five to 12 coats or until no dull spots remain
and there is a uniform clear luster. Later coats may be spaced at intervals
of several weeks or months.
• Paste wax may be applied as a finish coat about six weeks after the last
coat.
• Repeat the oiling process once or twice a year; first remove the wax with
turpentine.
The beauty of the oil finish depends on the number of coats applied and the time
and energy spent in polishing.

Penetrating wood seal
Penetrating seal gives a natural finish when little labor is desired. It looks similar
to the oil finish. It is durable and resistant to scratches. It is easy to maintain —
worn places can be removed without showing lap marks.
Choose the seal without a varnish base. The seal comes in colors or it can be
used over oil pigment stain as long as the stain is thoroughly wiped off and
allowed to dry 24 hours.
For specific instructions, follow the directions on the can. Generally the seal is
applied in the following manner:
• Apply liberally with cloth or brush to bare wood.
• Let stand 15 to 20 minutes.
• Wipe with dry cloth to remove excess.
• Dry 12 to 24 hours before second coat.
• Rub lightly with fine sandpaper because seal tends to raise the grain.
On open-grain woods such as walnut, oak and mahogany, a filler may be
needed. It should be applied between the first and second coats and just after
the penetrating seal has passed the sticky stage. The filler should be thinned with
a mixture of half turpentine and half seal. Oil stain may be used for the desired
color.
Varnish
A clear, dry day is best for varnishing and the work should be done in a room free
from dust. Temperature of the room, varnish and wood should be about 70
degrees F.
A beautiful and durable finish can be obtained with a quality product and a good
clean brush. Colored varnish is not recommended. Spare varnish is excellent as
a last coat for surfaces subjected to moisture and heat. If shellac is used as a
liquid filler, excess shellac should be rubbed from the surface; otherwise, the
varnish finish may check.
Do not shake or stir varnish before using. Stirring creates bubbles which are hard
to brush out and may appear as pitted dents when the varnish is dry.
Procedure
• Mix 1 part turpentine to 4 parts varnish for the first coat.
• Fill the brush with varnish, dipping it half the length of the bristles into the
varnish 4 or 5 times. Each time wipe off surplus on the sides of the
container.
• Apply varnish quickly and freely, brushing with the grain of the wood,
using only the tip of the brush.

• Let stand one or two days until perfectly dry.
• Smooth with fine sandpaper or pumice stone on damp cloth, taking care
not to rub through finish after each coat.
• Dust surface well.
• Apply second and third coats of varnish without thinning.
• Dry at least a week before final rubbing.
• For a satin finish, rub with cloth dipped in linseed oil and pumice stone.
Shellac
Because of shellac's limited durability, it is not recommended for heavily used
furniture. This finish is brittle when dry, scars easily and water spots. It is also
soluble in alcohol, so it cannot be used for dressers where cosmetics containing
alcohol are often placed.
Advantages are that it is easy to use, dries quickly with a gloss and can be
rubbed to a satin or dull finish. It is often used as a sealer coat over stains, as a
filler on fine grained woods or to cover knots before painting.
• Mix equal parts shellac (4 pound cut) and denatured alcohol.
• Apply with brush, stroking with the grain.
• When dry (24 hours), rub well with fine sandpaper until all gloss
disappears.
• Apply the second and third coats the same way, rubbing down each time.
• Rub last coat to a satin finish with pumice stone and oil.
• Wax.
Lacquer
Lacquer makes a very durable finish that resists water and alcohol. It does not
darken wood colors and its color does not deepen with age. Lacquer is difficult to
use because it dries quickly. For this reason, it is not recommended for
amateurs.
Follow the manufacturer's directions carefully.
Paint or enamel
These finishes are often used on wood with no particular beauty or to cover old
finishes to match furnishings.
Be sure the surface is clean, smooth and dry. Paint will not stick to a greasy
surface. You do not have to remove the old finish; sanding the surface will make
a foundation for the priming coat. If the article to be painted is new, look for any
knots. These should be covered with a coat of shellac.
Mix paint and enamel well before using. Pour a small amount into can to use and
keep remainder covered.

Procedure
• Use flat oil paint or undercoat thinned according to directions.
• Dip brush one-third of bristle length and stroke following the grain of the
wood.
• Allow to dry thoroughly, then sand lightly with 2/0 sandpaper.
• Apply second coat unless the surface needs another undercoat. Stir paint
frequently while painting.
• When thoroughly dry, sand lightly.
• Use regular paint or enamel as desired. Enamel can not be brushed out
as much as paint; therefore keep the brush full of enamel and flow it on
without allowing it to run.
• When the last coat is completely dry, rub with pumice stone and oil for a
satin finish.
Antique finish for painted furniture
This finish is a two-tone blended or shaded finish achieved by applying tinted
glazing liquid over a painted base. Traditionally, the glaze is applied over white or
ivory enamel, but color is the modern trend.
• Paint the surface with a mixture of one part ivory enamel and one part flat
white paint. Allow the painted surface to dry thoroughly.
• Mix one tablespoon of burnt umber tube color with about one-half cup of
glazing liquid or enough to give the consistency of cream.
• Brush the glaze on and allow it to stand a few minutes.
• On a rough surface, wipe glaze from raised parts with a folded
cheesecloth.
• On a smooth surface, wipe glaze from the center and leave a small
amount on the edge.
• With a brush, blend the glaze from the edge toward the center.
• A cloth moistened with turpentine will remove the glaze completely so one
can practice until the desired effect is achieved.
Special light finishes
Light colored finishes are popular today. Old furniture of normally light colored
wood can be given a new look by using a finish that enhances the natural color.
Much of the golden and Mission oak furniture lends itself to bleaching and
remodeling into modern pieces.
After all the old finish has been removed from the surface, it may be bleached.
Do not try to bleach wood too light, as a warm tone in furniture is more pleasing
and will harmonize better with other furnishings.
Natural finish is obtained by using a colorless protective coat.
Procedure

• Use a coat of white synthetic resin seal, liquid white wood filler, white flat
paint or enamel.
• Allow to dry 10 minutes (depending on how fast the product begins to set).
• Use a clean cloth and wipe off across the grain of the wood.
• Allow to dry 24 hours, sand and dust.
• Apply clear finish.
Pickled finishes are made with white or another color over the natural wood color.
The effect is similar to the blonde finish and made in the same way except it is
usually done on open-grained woods, particularly oak, and a coarser cloth is
used to wipe off the pickle coat. The result has more interesting texture.
Minimum care can maintain a good finish. If the surface has been waxed, no
furniture polish is needed; polishes will dissolve the wax. Dust with a clean soft
cloth; fold under soiled sections as dusting proceeds. To remove old wax, wipe
surface with turpentine. To apply wax, use a pad of several layers of cheesecloth
with a small amount of wax on the inside. Rub on a thin coat of wax. Polish after
20 minutes with a clean soft cloth. Several coats of wax thoroughly buffed
between each coat are more durable than one thick coat.
When fine scratches appear, use fine steel wool and turpentine or a cleaning
solvent. Rub surface with the grain until scratches disappear and rewax. This is a
good treatment for neglected surfaces or for furniture that has accumulated soil
from storage.
Rub white spots with a soft cloth moistened with turpentine or spirits of camphor.
If the color isn't restored, rub with fine steel wool or sandpaper and repeat the
turpentine or camphor treatment. Rewax. If the color does not return, refinishing
is probably needed.
Surface checking can be removed with light sanding. Deeper checking requires
refinishing.
Checking is caused by
• Not allowing enough drying time between protective coats.
• Too heavy application of protective coat.
• Extremes of temperature. Hot sun softens the coating. Extreme dry cold
dries. The finish loses some of its bond and cracks.
A few deep scratches can be sanded, colored with oil colors or colored wax to
match the finish, and rewaxed. Synthetic resin seals can be mended without
showing lap marks.

Finishing methods

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