Finishing Formulas

Give Your Finish Depth
What’s next after the stain? That depends on the hardwood selected for the project. If you are building with a figured hardwood you should add a coat of boiled linseed oil. This will soak into the figured grain and reflect the light, which adds depth to the piece.

To apply, simply brush the oil onto the project and allow it to soak for five minutes before wiping away the excess. The more it soaks in, the more of an effect will be seen after you have the finish complete. Allow the oil to dry at least 24 to 36 hours.

If you don’t apply the BLO there is no adverse reaction or negative look to the piece, so it is your choice. Make sure that you dispose of all oily rags in a proper manner. They are a fire hazard.

Using the BLO dictates the next step. Because lacquers do not adhere well to oil products (unless given weeks to cure  completely) it is necessary to seal the piece with something that will. Shellac is the answer in my shop.

In reading the various recipes given for the finishes of the book projects in “I Do It My Way” (which you can download from Glen’s blog entry), you’ll notice that shellac is used for a sealer coat and/or for a topcoat finish depending on the finish formula. In either case you apply the shellac in the same manner.
 
Spray the shellac mixed to a 1 1/2# cut. As a sealing coat, a single coat of shellac is all that’s needed. Sand the dried shellac with a sanding pad for any flat surfaces and an abrasive pad for any mouldings. Using a sanding pad reduces finger-friction heat so the finish doesn’t gum up in the pad;  the results are great.

If you didn’t add a coat of boiled linseed oil you have a choice to make about the sealer. You can use shellac, as we have discussed, or another option is lacquer sanding sealer, which is also sprayed over the stained piece.

The sanding sealer builds a nice coating that powders well as you sand and leaves a smooth surface for your topcoats.

Sand the sealer just as you would the shellac; then you’re ready for the topcoat. Either method of sealing will work fine, but don’t use the lacquer product if you ultimately plan to finish the piece with shellac.

How About a Topcoat?
In order to obtain an antique appearance for your furniture there are two choices when selecting a topcoat. Either finish the project with shellac or apply a few coats of lacquer.

If you are completing the project with shellac you should spray two coats over the sealer coat of shellac, allowing each to dry completely, before sanding. Next, add an additional two coats of shellac. A total of four topcoats will have the proper build.

Shellac has quite a sheen when applied to a project. You need to reduce the sheen for a more antique appearance and to inhibit showing any slight imperfections in your finish. To do this use #0000 steel wool and Behlen’s Wool-Lube to rub out the piece. Mix the Wool-Lube with water to thin it a bit and rub the piece with the steel wool dipped in the lube. A lot of elbow grease is needed for this method and sometimes getting into the small crevices and around mouldings is a task, but the results will be an antiqued hand-rubbed appearance.

If you’re hoping for a way to reduce that sheen without the time and effort of hand rubbing – look to dull-rubbed effect lacquer. One coat over the sanded shellac and the result is a hand-rubbed sheen without all the extra hand work.

If you are finishing the project with a lacquer topcoat, apply three or four coats over the sealer, allowing each coat to dry before moving forward.
For most furniture, Sherwin-Williams Dull-rubbed Effect lacquer is the best choice (few Sherwin-Williams retailers carry it, but they can order it for you). For tabletops and other pieces that will see heavy use I would choose a pre-catalyzed  lacquer. The application of each is the same.

The spraying of lacquer is straightforward – an HVLP system is highly recommended. Pay attention to the application and keep any runs or sags out of the picture as these will need to be removed after the surface is completely dry.

Or There’s Paint
To apply an antique paint finish to pieces such as the New York/Canadian Stepback cupboard pictured on page 77, the first step is to go through the staining process as described above. On top of the stain add two coats of shellac. I have tried a single coat without good results. Sand the shellac thoroughly before beginning to paint your surfaces.

Use an Olde Century Colors (oldecenturycolors.com) or an  acrylic latex paint for this process. Pour paint into a can. You’ll want to separate some from the original container, and add a small amount of fine sawdust to the liquid. This may seem odd but there is a method to this madness. As you spread the paint onto your surface, the granules will be distributed across the piece.

When the paint begins to dry – timing this requires close attention – take a wet cloth and rub the painted areas. The small pieces of dust, as they are rolled and removed, will reveal the stained surface below. Continue to wipe away paint only in the areas where wear would typically be displayed.

Don’t go overboard when simulating wear. A little can go a long way. And if you remove more paint than you want, simply add paint back onto the surface. This time don’t use the sawdust. With practice you can develop a talent and eye to achieve what appears to be an old painted finish.

Glaze for Age
Glaze is used to simulate years of age and to even the tonal differences in your work. The only difference between stain and glaze is that the glaze is sandwiched between two layers of finish whereas stain is applied directly to the raw wood. Any oil-based stain can become a glaze if positioned correctly, but I use a product made especially for glazing: Mohawk’s heavy-bodied glazing stain (Mohawk-finishing.com)

Sand the shellac sealer smooth with #320 grit. Remember: Lacquer and oil don’t play well together so use shellac, and place the drawers, if there are any, into the case. Spray a coat of glaze onto the surface.

As the glaze dries it will turn whitish in color or flash (turn from wet to dry in sheen). At that time you need to wipe away the majority of the glaze, leaving heavy areas in recesses, corners or around mouldings. Don’t worry that you’re wiping away too much. The glaze will get into the shellac and make those tonal changes. When the surface is dry, after 24 to 36 hours, apply another coat of shellac to lock in the glaze.

These processes, when applied in proper order, can move you to the next level in finishing your masterpieces. Give them a try and you’ll not look back to those old methods any more. And be sure to share your experiences with your fellow woodworkers.