Replies

1. 
   StanleyNiemiec | Apr 24, 2002 05:47am | #1

   My terminology is based on the Star/Mohawk products I used (still do for that matter) when I was "learning the trade".  I should note that I spray my finishes and 99.99% of the finishes that I apply are a lacquer based system.  The following are the primary ways I know of to color wood.

   A toner in my thinking/experience is a very thinned down paint.  I guess it might be slightly transparent but really only because it is so thinned down.  As it is a paint, you can attain a very even base color which is important if the wood grain is boring and lifeless (like black gum) or if there is a lot of heartwood/sapwood color variation.  It needs to be thin so that none of the grain/pores are filled with this finish.  Because it is basically a paint, multiple coats will lead to true opacity.  A very thin toner is almost like a clear wash coat in that it seals the wood and prevents color blotching.

   On top of a toner, I use glazes; which I best describe as pigmented solutions (of a stain-like characteristic) that are meant to be used between coats of finish.  The colorants used on top of antique white finishes generally are glazes.  If the pores are not filled, then the glaze will hang-up in the pores and in profile details (like mouldings and turnings) to provide for depth and highlighting.  Thus with the colorant going into the pores, you still get a "wood grain" appearance.  I use glazes a lot (mostly over clear lacquers) because if you make a mistake, they are much easier to wipe off (being on top of the finish).  I can also leave relatively minute amounts of colorants so that I can be more subtle in blending color.  When used in multiple applications, glazes can provide a wonderful combination of transparency (for a pigment) and incredible depth.  (Note that the Star glazes purchased from Mohawk do not work well on varnish finishes; in my experience the solvent in the glaze is a solvent for the varnish and you end up with a gooey mess that is a real nightmare to work with).

   In my experience, a lot of the "fruitwood" finishes on commercially manufactured furniture uses a tone/glaze combination to attain that look.  Yep they will do this on real cherry.  Toner/glaze finishes are the most difficult to match; you not only have to get the toner color right but you need to match the glaze colorant.  And as these are non-filled (open pored) you have to be right on as the amount of finish (solids) that you apply.

   Dyes (generally either alcohol or water soluble anilines) are meant for application on raw wood.  They are exceedingly transparent as they contain no opaque pigments.  These I spray on because I have never been able to pad them on without getting streaks and lap marks; that and spraying is a whole lot easier and faster and it also keeps my hands slightly cleaner.  I will sometimes take an alcohol based aniline and mix it with lacquer thinner (generally an oxigenated solvent with varying amounts of alcohol depending on price and supplier) and a small amount of clear lacquer to make a shading stain.  I spray this to slightly darken the finish and to even out color.  I should not that dyes are not necessarily color fast; some colors are susceptible to sun-bleaching/fading.

   Stains are pigmented solutions (in my experience generally in some sort of aromatic solvent solution {eg mineral spirits}) that is applied to the raw wood usually with rags or brushes.

   Paste wood fillers are basically exceptionally thick stains (though sometimes they are neutral) that are meant to "fill the pores" so that even surface smoothness can be attain.  This is especially important if you are seeking a high-gloss, rubbed-out finish.  Unless the pores are filled, the rubbing compound will get hung up in the pores and you will have a devil of a time eliminating streaking.

   Paints are completely opaque.  Not all that wonderful if you are a "see the grain" purist but with paints you more or less get an infinite variety of color choices (hue, chroma and intensity).

   The last option for coloring wood are substances called mordants.  Mordants are, like dyes, transparent but instead of dying the wood, they react with various chemicals in the wood to cause a color change.  Mordants tend to be more color fast than dyes.  The old book published by Taunton Press many years ago entitled "Adventures in Wood Finishing" by George Frank is an excellent reference (if you can find one) that discusses quite a few mordant solutions.  I don't use them as I find dyes are easier.  I also don't use mordants because somebody stole my copy of Frank's book.  If you find a copy of one with my name in it, I would appreciate it being returned to me.  I will waive all overdue fines just to get it back.

   Opps and there is yet another way to change the color of wood  --  bleach solutions which will remove the natural color of wood (depending on the bleaching solution, its concentration and the number of applications).

   Throughout my professional career, I have used each and every one of these approaches (yes on the same piece though not a paint if the finish was to be "woody") when I have absolutely, positively HAD to match some color for some daffy client (read as most often a "decorator").

1. 
   JoniEickman | Apr 25, 2002 05:30am | #2

   Thank you for informed response.  You have added to my understanding.  However, I'm still confused after having read much on the subject of tone and glaze.  I have not used Mohawk products but intend to find a source.  My objective is to "paint" over the shade variation of pore-filled, white oak.  The Behlen, Natural color, toner I tried failed to do this.  I have ordered a Golden Oak color to try but am left wondering how a toner meant, essentially, to "paint" wood will accomplish this when its colorant is dye.  Does the Mohawk product use pigment?

   Also, I don't understand why a toner should be a laquer.  I sealed the pore-filled oak w/ shellac.  I am experimenting with fresco colors in shellac. Wouldn't this work?  It can't be this tough.

1. 
   StanleyNiemiec | Apr 25, 2002 07:28am | #3

   You might try something like http://www.mohawk.com   This is a guess because I cannot find their catalog just now.  I believe that their Star Glazes are the best! 

   When it comes to finishing, there is a huge difference between conceptualization and practice. 

   I know that there is a premixed white shellac (pigmented white).  I have used this to stop red dyes bleeding through white lacquer finishes on older pieces that I have refinished.  I suppose you could start with this and thin it down and then add your desired hues.  Starting from scratch with some finishing systems is like reinventing the wheel.  You can do it but it takes time and you have to worry about consistency.  I have found that a good commercial product will be smoother and uses a finer pigment.  When it comes to toners, you definitely don't want any "snot" in the finish 'cuz in most cases, you only get one application chance.

   The lacquer toners I have used are all pigment based.  When I apply them, I do not expect to cover all the variation in the wood (eg heartwood/sapwood differences).  If I get about 60% of it "toned" down, that is about as far as I want to go max.  The remaining variability, I will "adjust" with the glazes or with subsequent shading stains (alcohol based aniline mixed with solvent and a bit of finish solids).  If you go too opaque, you loss the natural wood color variability and you end up with a blah looking finish that is too monochromatic for my tastes and one that totally lacks the chatoyant characteristics of natural wood.  And be aware that the opacity will increase as the solvent evaporates and the finish hardens (condenses).  For me that means that you apply a little less than you think you will need; when I do this, I generally end up with it about where it should be. 

   I have had no experience with the fresco colorants you are referring to.  As such, you are on your own.

   If you don't want to go the whole route of spray guns, big compressors and a booth, you might price an inexpensive air brush.  Not only can you feather the application, you can use very thin wash coats that will seal the previous work you have done.  This is critcal with glazes because you don't want them moving around.  You still need to work in a well ventilated area because there will be more overspray/solvents in the air.  This is critical with alcohol solvent finishes because they tend to have a low flash point.  And unless you are using grain alcohol, you don't want to get the denatured alcohols into your body. 

2. 
   StanleyNiemiec | Apr 25, 2002 08:21pm | #5

   One more thought about commercially available products versus making your own.

   If you buy a commercial white pigmented shellac (as Bull's Eye from a paint store), you might also get them to use their universal color system to match a color chip from their color charts.  You might see if those universal colors are compatable with shellac.  If they are (as I think they might be), then for very little work you can obtain the exact base color for your toner.  All you would have to do then is thin it to the consistency you desire.

2. 
   GregB126 | Apr 25, 2002 09:24am | #4

   I have thought of mentioning Jeff Jewitt's forum many times, now, but haven't yet.  I think it is the best finishing source around.  It is more of a Q&A, with Jeff responding to questions.  He is very prompt and gives terrific advice.  He is very knowledgeable and doesn't simply plug his own Homestead products.  I once posted a question on Thanksgiving day (don't ask...) and was amazed to see a superb reply the next day.  Some of the threads are very interesting.  All the content is quality.  It's a lot like having Jeff live next door and talking over the fence.

   Try this: http://www.homesteadfinishing.com/

   Just click on Forum and select current forum.  Terrific resource.  I hope this is useful.

   Cheers