Replies

1. 
   peter28 | Dec 14, 2007 06:24am | #1

   Brandon,

   Do you have any dyes? You can start a look very easily with a medium yellow dye. It will help tie everything together.

   If not and you plan on sealing the wood first you can use some gel stains for a glaze. I don't have many in stock so I can't tell you exactly which color to use. If you have a supplier close by, they will often let you pop the top to look. If you bring along a paper plate you can dab a little on it and read the color.

   I don't have the article in front of me but as I recall it's a yellow brown. With the gels you'll need a yellow brown as the base and a red brown. I would also consider a greenish brown ( I know they have one I think it's their golden oak) just in case you get the color too red you can neutralize it with a bit of the green brown.

   They are quite thick and can take a fair amount of thinning. You'll also need a fine bristle brush for "feathering" the glaze. As you apply it you blend it with the brush.

   The gels tend to dry pretty quickly so practice it first.

   If you really want control over your color;

   Try some artist oil colors. They come in small tubes, are identified by color name and will create a superior colored glaze.

   You can also find glaze base. Ben Moore has one for instance. The glaze is a neutral color and is basically the vehicle for the color.

   A simple mix would be one part glaze, 12 to 1 part thinner, one part color

   Another way to make this glaze base is to mix a small amount of boiled linseed oil with a little paint thinner and then add color.

   It just depends on what you can get your hands on.

   For the tube colors;

   Raw Sienna will be your yellow

   Burnt Umber will be a deep warm chocolate brown.

   Two others I would have on hand would be burnt sienna, a bright orange brown and raw umber a dark greenish brown.

   Color formula;

   Make individual containers of the colors; mix some of each of the colors separately with some thinner and glaze base.

   For a warm yellow brown; to approx. 4 parts raw sienna add 1 part burnt umber. Test the color on a paper plate and or a prepared sample.

   If it needs to be a little darker, add some more burnt umber. Test it again

   If it needs to be a bit brighter or warmer add a little burnt sienna. This will turn it into more of a honey yellow.

   For a cooler (less red look) to the raw siennaburnt umber base add small amounts of raw umber. It will dull it down.

   Plan your work!! I like to make a pad and apply the glaze with it. If using a pad be sure and charge it with a little mineral spirits first. This gives me good control but you can also use a brush. Just remember the more you put on the more you need to blend. Less is more in this case.

   When you are blending your glaze, be sure and have a rag to keep wiping off the bristles. Otherwise the bristles start to clog with glaze and instead of blending you start pulling the glaze.

   Because it is so thinit will dry pretty quickly and you can easily go over it with shellac the next day. Also try using naptha instead of mineral spirits as your thinner. It will evaporate a bit quicker.

   Do your shellac as your finish and you'll have an attractive cabinet.

   Sorry if it got long winded. But when you break it down it makes sense.

   Have fun.

   Peter

    

    

    

    

    

   Glazing is an incredibly useful tool for acheiving great looks.

    

    

    

    

    

    

    

    

    

    

    

    

    

    

    

    

    

    

    

1. 
   brando | Dec 14, 2007 05:50pm | #2

   Hello Again,

    <!----><!----><!---->

   Peter, thanks for your prompt and thorough reply it has helped tremendously.  I plan now to do the Following.

    <!----><!---->

   -Dye the project with a thinned medium yellow dye (Transtint Mixed with Water).     

   Should I be worried about blotching during this step??

    <!----><!---->

   -Seal with Zinser SealCoat. (What cut do you think that I should use??)

    <!----><!---->

   -Mix a glaze with Boiled Linseed Oil, Thinner, and Artists oils.

    <!----><!---->

   -Apply using Pad and Use a Brush to Blend.

    <!----><!---->

   -After Glaze dries do I need to seal it??

    <!----><!---->

   -Use Zinser Shellac for finish (part clear, part amber)

    <!----><!---->

   -Rub out finish and apply Wax.

    <!----><!---->

   Thanks again for any additional advice.  I also attached a picture from Tom Wisshack’s article for reference.

    <!----><!---->-Brandon

   
1. 
   peter28 | Dec 14, 2007 07:51pm | #3

   Brandon,

   Wet the pine first and sand the raised grain. I don't think you'll have much blotching with a thinned dye. If you think you are going to, lightly wet the wood a couple of minutes prior to dyeing it.

   To seal it , I would just thin the shellac a little maybe 10 -20 %. There is so much written that it is SO HARD to work with in the two pound cut. That is utter nonsense. Plus brushing the first coat is very simple. If you cut it back a bit , apply two thin coats. Remember, you want the surface sealed as it is the base for your glaze colors. Lightly sand when dry. I would also suggest you went over it with a maroon scotch pad after you sand it to get the surface nice and smooth.

   When you mix your glaze, go easy on the BLO. In the 2-5%range at the most. It is just a binder for the pigment and thinner.

   Seal it after you apply the glaze. Here's where you can thin the shellac down about 20-30%. Be careful when you brush the shellac now. Lay it on in thin even strokes. If you miss a spot, touch it up when it's dry. If you over brush it the glaze will pull off. Once it's sealed, your fine.

   Once the sealer is dry a light scotch padding will smooth it out

    Next,I would suggest a second glaze that is somewhat darker than your first. This will be for the crevices as well as the darker color in the moldings.

   You can add some burnt and raw umber (50-50, 60- 40 etc.) to it for a warm dark or just the raw umber for a cooler or less red dark. Since the surface is sealed, you can apply the glaze to it and if it needs adjustment, just wipe it before it dries and change it to please your eye.

   The second glaze can easily be done with a smaller artist brush. Here's where we use what's called a "dry brush" technique. Charge your brush with glaze and tap off the excess on a paper plate. A quick run around the inside edges of moldings will create a shadow line. Also brush a little onto the relief part of the moldings.

   Another way is to apply the darker glaze and remove the high spots with a paper towel.

   However, the dry brush technique will dry quicker due to it's thinness.

   DON'T do everything the exact same way. Nature and time is not linear. Occasionnally stand back and let you eye absorb the "whole".

   When dry apply your shellac topcoats as needed. Two thin coats should be enough. For look you are going for this should be plenty.

   Give it as long as you can prior to rubbing and wax.

   After you get done, needless to say a picture would be appreciated.

   Have fun.

   Peter