3 Brush on a liberal coat of dye and keep the surface wet. Wipe the end grain occasionally to check its appearance. After the surface is uniformly colored, wipe off the excess dye and let the wood dry. Then repeat the process.
Seal the surface with two coats of dewaxed shellac. Sand "after each coat with 400-grit paper.
5 Make your own glaze by dissolving artists oil into glaze medium. You don't have to be scientific about the ratio as long as you use only one color.
6Glaze acts as a toner on the sealed surface, resulting in a deep, rich color and a uniform appearance. Just brush it on and wipe it off. Blend uneven areas by varying the amount of glaze you leave on the surface.
rough surface. For smooth results with these finishes, raising the grain prior to finishing is essential (Photo ()).
Glue size is diluted glue. It limits the dye's penetration by partially sealing the wood, like a thin coat of finish (Step 1, page 5H). To make glue size, combine one part white glue with three parts water and stir thoroughly. Saturate the wood's surface and then remove the excess, leaving an even coat. Sand lightly with 400-grit sandpaper when the surface is dry. Go lightly on contours and edges, so you don't sand through.
Apply the Ground Color
I use Transfast "Antique Cherry Brown" water-soluble dye powder (available f rom Rockier, www.rockier.com) to create the ground color. Water-soluble dye from other manufacturers will work just as well, although the color will be different. Dissolve the dye at the label-recommended ratio of 1-oz. powder to 2-qts. hot water (Step 2). Let the solution cool to room temperature before use.
On the primed surface, the dye acts like a liquid oil stain (Step 3). Brush or wipe on a generous coat. Let it soak in for a minute or so and then wipe off the excess. The second coat ol dye imparls a deeper color and a more uniform appearance.
It's tough to get uniform penetration on end grain. Fortunately, you can minimize any uneven appearance later with the colored glaze.
When you have a large surface to cover, use a spray bottle to apph the dye and a brush to spread it. Simply re-spray previously worked areas to keep the entire surface wet until you're ready to wipe it dry. Spraying and brushing also works great on vertical surfaces. Start at the bottom and work your way up.
Shellac prepares the dyed surface for glazing (Step I). It also keeps pitch sealed in die wood. Without shellac, pine's pitch can bleed into oil-based finishes, leaving fissures or shiny spots that remain tacky, especially around knots.
Glaze is nothing more than paint formulated for wiping. It's easy to make your own pro-quality glaze (Step 5). Don't go overboard with the amount you mix—a little glaze goes a long way. Artists oils contain high-quality pigments for pure, clear color, Glaze medium makes the artists oil easy to spread and quick to dry (within 24 hours). Artists oils and glaze medium are available at art supply stores.
Glazing adds a second, separate layer of color that really makes the pine come alive (Step (>).
You need to protect this layered finish with clear topcoats. Anv topcoat will work as long as you wait until the glaze has completely dried. To check, wipe the surface gently with a cotton rag. II it picks up any color, wait another day.
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