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Tedswoodworking Plans

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Shellac and glaze adds rich color and minimizes blotching. Shellac seals the wood so the glaze, which is thinned oil paint, adds color evenly. You can wipe the glaze hard, or feather it. leaving more in some spots than others. Glaze is great for disguising light sapwood.

Shellac and glaze adds rich color and minimizes blotching. Shellac seals the wood so the glaze, which is thinned oil paint, adds color evenly. You can wipe the glaze hard, or feather it. leaving more in some spots than others. Glaze is great for disguising light sapwood.

This versatile proc ess allows yon to arlrl color wherever it's needed, in a spot, or over the entire piece. Ii also helps io blend mismatched chcrry boards or plywood and solid cherry. It disguises light-colored sapwood and hides mottling and unwanted curl\ fig-ure. You can use it to make new cherry look older, because each coat of glaze deepens the color.

The technique is simple. First, appl) two thin coats of Zinsser's SealCoat (liquid dewaxed shellac). Sand lighth alter each coat, apply the colored glaze and wipe it oil. Thai's it. Bet .uise the shellac has sealed the wood, the color goes 011 cvenlv. without making the surface look muddy. Once you're satisfied with the color, topcoat with polyurcthanc.

If you have serious color mismatches to deal with, two-stage coloring may work best. Put a coat of golden-brown-colorcd dye on the unfinished cherry, before the shellac (page 39. top right photo). It tempers the color differences so they're easier to blend with glaze.

You can brash shellac, spray it or apply it with a pad (Step 1). I.et each coat dry thoroughly (usually about an hour). Sand each coat with 320-grit sandpaper. Sand evenly and carefully, because glaze will accentuate any scratches and leave a dark line wherever you cut through the shellac.

Glaze is nothing more than thinned paint. You can use gel stain as glazes or make your own. using artists oil colors and liquid glazing medium (Step 2).

Both are available at art supply stores. Artists oils contain very finely ground pigments, so thev don't look inuddy, and you can match just about any wood by using or mixing different colors. Liquid glazing medium makes tin: oil color spread evenly and dry faster.

Once you apply the glaze, you have plenty of time to work with it before it dries (Steps 3 and 4). It's also reversible (Step .5). Once the glaze is dry (overnight, in good conditions), you can deepen the color with a second coat, add additional glaze selectively to camouflage bad spots or highlight details, or finish with topcoats. As with oilier finishes, cherry will continue to darken underneath the glaze, although you'll hardly notice it.

step 1. Seal the surface with two thin coats of dewaxed shellac, this keeps glaze from lodging in cherry's tiny pores and turning them unnaturally dark.

step 2. Make your own glaze by mixing burnt umber artists oil and liquid glazing medium into a paste. Don't go overboard —a little glaze goes a long way.

step 3. Cover the sealed surface with glaze. It doesn't matter how you apply it or if you miss a few spots. Wiping evens things out.

38 Anit-i ¡1.111 Woothvoi kri

SHELLAC & GLAZE

COST: Shellac; S8 per qt.

Glaze (Artists oil color and liquid glazing medium). $15. Topcoat; $5 to $8 per aerosol can. COVERAGE: A little glaze goes a long way. PROS : Rich color Minimizes mottled figure. Goof-proof, because it's reversible. Disguises sapwood. End grain matches face grain.

CONS: Additional steps take extra time. Added cost. Finish topcoats necessary.

STEP 4. Use two rags for wiping, one that's fairly loaded with glaze and another that's fairly clean. Between the two you can feather the glaze however you want.

STEP 5. If you goof, mineral spirits removes glaze. If your glaze doesn't look right, you can take it off (before it dries) and try again.

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