Tinting Paste Wax
Adam Kropinski
I've finished an a&C bookcase. It's QS whie oak that has been fumed with
ammonia, a coat of oil and then 2 coats of shellac. I want to apply a coat
of colored wax to fill the pores and give a darker tone. What is the best
way to color paste waxes: aritist colors perhap? Any ideas would be
greatly appreciated.
tks
Adam
Andy Dingley
<akrop...@cogeco.ca> wrote:
>What is the best way to color paste waxes: aritist colors perhap?
Almost anything. I use artist's acrylics for epoxy, but for waxes I
use ochre pigments (locally mined). They come in a range of colours
from yellow to black (or even purple) and can be intermixed. Very
stable too.
For a wax I use my usual beeswax & turpentine recipe. It's important
to add a touch more ammonia if re-melting it to colour it, otherwise
the ochre tends to settle out on cooling.
I don;t use this on oak (maybe I'll start doing it, depending on the
timber) but I do like brown ochre in wax on ash, for semi-rustic stuff
like Windsor chairs. It highlights the open grain of the growth rings
nicely, but doesn't colour between the rings. I then use a clear wax
with carnauba over the top.
Lawrence L'Hote
"Adam Kropinski" <akrop...@cogeco.ca> wrote in message
news:_2wQa.898$N17.1...@read2.cgocable.net...
> Hello,
>
> I've finished an a&C bookcase. It's QS whie oak that has been fumed with
> ammonia, a coat of oil and then 2 coats of shellac. I want to apply a
coat
> of colored wax to fill the pores and give a darker tone. What is the best
> way to color paste waxes: aritist colors perhap?
I can't say it's the best way, but I've mixed burnt siena or VanDyke brown
artist paint(oil based) with Johnson's paste wax and used it. And then there
colored waxes available(i.g.
http://shop.woodcraft.com/Woodcraft/product_family.asp?family%5Fid=7263&gift
=False&mscssid=9E62F017F64446778E735E63A6B7A9EC )
Larry
--
Lawrence L'Hote
Columbia, MO
http://www.wood-workers.com/users/llhote/
http://home1.gte.net/llhote/index.htm
SwampBug
--
SwampBug
---------------------
"Andy Dingley" <din...@codesmiths.com> wrote in message
news:6o85hvgtqhlf5v80p...@4ax.com...
Andy Dingley
wrote:
>I can't say it's the best way, but I've mixed burnt siena or VanDyke brown
>artist paint(oil based) with Johnson's paste wax and used it.
Just a point on artist's colours - they're not always the same.
"Van Dyke" is made from walnuts (You can buy the raw stuff in kilo
quantities from Liberon - cheap too) "Burnt sienna" is a mineral
ochre. Both of these are millenia-old pigments that are proven to be
stable over time.
But if you buy the cheapest set of paints from a local craft shop,
then you've no idea what you're getting. Many of them now contain
synthetic dyes of uncertain (or even well known) instability. This is
a serious issue with some artists and archival-grade conservators.
Tony D.
Bri-Wax sells tinted paste wax, (don't leave it on a fresh finish too
long, it's pretty strong)but I think if it's allready sealed with
shellac, tinted wax will do little, although a bit may lodge in the
pores if there are any still open.
You may want to try a coat or two more of shellac, this time tinting
the shellac with a dye.(test in unseen area or scrap)I belive "trans
tint" is the name of the one I used(woodcraft) I have used it in
shellac with good results. It comes in different shades and colors.
Thanks, Tony D.
"Adam Kropinski" <akrop...@cogeco.ca> wrote in message news:<_2wQa.898$N17.1...@read2.cgocable.net>...
Larry Jaques
Briwax and others make wax for dark woods, so go that
route for waxing. But why fill the pores?
--
"Not always right, but never uncertain." --Heinlein
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Andy Dingley
wrote:
>But why fill the pores?
1) Because Stickley did.
2) Because you think it looks good.
a) It hides them, and makes the pore-less ray flake more prominent
b) it accentuates them (my rusticated ash)
it in the newsgroup@please.thankyou B a r r y B u r k e J r .
<din...@codesmiths.com> wrote:
>But if you buy the cheapest set of paints from a local craft shop,
>then you've no idea what you're getting. Many of them now contain
>synthetic dyes of uncertain (or even well known) instability. This is
>a serious issue with some artists and archival-grade conservators.
What about universal colorants? Is there any way to verify the
quality of the ingredients?
Thanks,
Barry
Andy Dingley
in the news...@please.thankyou> wrote:
>What about universal colorants? Is there any way to verify the
>quality of the ingredients?
The artist's response is to ask the manufacturers. If you Google, you
can find lists that people have assembled.
It's also creating a nice trade in "boutique" pigments, guaranteed
hand ground by virgin monks on the slopes of the Himalayas. With
Afghanistan now being a bit more open to trade, the price of lapis
lazuli has dropped somewhat too.
Larry Jaques
<din...@codesmiths.com> pixelated:
>On Mon, 14 Jul 2003 20:16:37 GMT, Larry Jaques <jake@di\/ersify.com>
>wrote:
>
>>But why fill the pores?
>
>1) Because Stickley did.
I've read conflicting stories there and am willing
to believe the con side: that they didn't take the
time or -expense- to do so. I also don't feel that
they were nearly as dark when original as the old
pieces are now. They darkened over time. Y'know,
when the open pores filled with dirt, old wax, and
human skin oils. Anyone here old enough to dispute
that one? <g>
>2) Because you think it looks good.
>
> a) It hides them, and makes the pore-less ray flake more prominent
>
> b) it accentuates them (my rusticated ash)
Maybe YOU think it looks good...
Andy Dingley
wrote:
>>1) Because Stickley did.
>
>I've read conflicting stories there and am willing
>to believe the con side: that they didn't take the
>time or -expense- to do so.
Gustav was clearly the sort of guy who'd do finishes the way he
wanted, rather than the way that made money. I think Leopold would
probably have value-engineered that step out.
OTOH, there's a lot of colour variation in GS product. It would be
interesting to know accurately if they did change their processes.
>I also don't feel that
>they were nearly as dark when original as the old
>pieces are now. They darkened over time.
These pieces are only 100 years old, which is pretty young for oak.
There's 400 year oak furniture in town that's dark brown, and 800 year
old in some of the old English houses that's black. Compare this to
timber framing, where the 400 year stuff is already jet black. If you
saw these beams, they're darkened for 1/2" surface depth.
Compared to that, Barnsley work that is contemporaneous with Stickley
was finished to a lighter colour and is still light today.
Larry Jaques
<din...@codesmiths.com> pixelated:
>On Wed, 16 Jul 2003 02:23:21 GMT, Larry Jaques <jake@di\/ersify.com>
>wrote:
>
>>>1) Because Stickley did.
>>
>>I've read conflicting stories there and am willing
>>to believe the con side: that they didn't take the
>>time or -expense- to do so.
>
>Gustav was clearly the sort of guy who'd do finishes the way he
>wanted, rather than the way that made money. I think Leopold would
>probably have value-engineered that step out.
Yeah, the OP didn't specify Gus or Leo. ;)
>These pieces are only 100 years old, which is pretty young for oak.
>There's 400 year oak furniture in town that's dark brown, and 800 year
>old in some of the old English houses that's black. Compare this to
>timber framing, where the 400 year stuff is already jet black. If you
>saw these beams, they're darkened for 1/2" surface depth.
I see. I really need to get some QSWO and fume it to see
for myself just how dark it gets with a clearcoat. But
so many of the pieces I've seen in person appeared to be
dark from grime, where the "antique" owner didn't want to
reduce the value by simply cleaning the piece. Of course,
I don't go into large cities and expensive antique shops,
so my experience with antiques is limited. There are few
styles of anteakz worth looking at, IMNSHO.
>Compared to that, Barnsley work that is contemporaneous with Stickley
>was finished to a lighter colour and is still light today.
Interesting! I'd like to see some of his work. Do you have
any links or book references in mind, Andy?
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