These dyes are available by mail order from many suppliers. But keep in mind that the color of the wood under the dye will still darken and result in a much darker coloring than you may want after a number of years. Instead of using stains, they get the color with glazes and toners. Glazes are thickened stain applied in between coats of finish. Toners are the finish itself with the color usually dye added. Toners are always sprayed. If a stain is used at all, it is thinned a great deal and sprayed thin on the bare wood and left to dry without wiping.
This produces a more even coloring than a wet coat wiped dry. The staining is almost always followed by a glaze, toner or both. The end result is reduced blotching because it is largely covered over. Most boards and veneer blotch when stained, and also when finished without a stain. Over time the blotching is muted as the heartwood darkens naturally to a rust-red color.
If you choose, you can get to this color immediately by staining with a cherry dye stain. But in time the wood will darken further underneath the dye.
At first, linseed and tung oil finishes give cherry a deeper, richer appearance than film-forming finishes like shellac, lacquer and polyurethane. Sealing the surface and then applying coats of colored glaze is the way to go. The best way to deal with sapwood is to cut it off, but it can be finished to blend with the heartwood. Most cherry boards contain extra absorbent spots and pockets of curly figure that are more distracting than spectacular.
Before you choose a finish, check your boards for mottling by wiping them with mineral spirits. Film-forming finishes can be applied by wiping, brushing or spraying. Each layer you apply builds the thickness of the film.
On cherry, drying oil finishes emphasize a mottled appearance. Film-forming finishes, like shellac, lacquer and polyurethane, minimize it. Polyurethane disguises mottling and curly figure the best, but it gives cherry less depth than shellac or lacquer.
Tung oil and boiled linseed oil soak into the wood, lodging in even the tiniest pores. The deep-amber color of these oils amplifies the effect. If you like mottled cherry, use a drying oil finish. Wipe-ons are the most worry-free finishes to apply. These finishes are usually rather thick, but heating them makes them less syrupy and easier to apply. Wipe all excess oil from the surface. After the first coat is completely dry, smooth the surface with very fine sandpaper or steel wool and apply a second coat.
These blends also contain solvents to make them easy to apply and driers to make them dry quickly. Wear gloves, a respirator and maintain adequate ventilation. Pure drying-oil finishes contain only tung oil or linseed oil see Sources. Safety Tip: As boiled linseed oil dries it can generate enough heat to cause a pile of oil-soaked rags to catch fire spontaneously. Spread the rags out to dry, allowing plenty of air circulation around each one I take them outside! Oil finish gives cherry a rich tone, because of its amber color, but the results are unpredictable.
Cherry often absorbs oil unevenly, and parts that absorb a lot of oil look darker. The result is a mottled appearance.
Warm oil finish in a bath of hot tap water to make it easier to apply. Keep the oil warm by occasionally changing the water.
Note: Never heat finishes on your stove. The first coat of a film-forming finish seals the wood, so successive coats lay on top of each other. Each new coat thickens the finish film.
Spraying these finishes from an aerosol can is fast and convenient. Spraying also eliminates brush stokes, and no brushes or rags makes cleanup simple.
But, you do have to deal with overspray and nasty fumes. Applying rottenstone is a laborious process, so focus on using it on the most tactile parts of a furniture project. For instance, with the Morris chair on page 42, I used rottenstone on the top surfaces of the arms, where fingers and hands will be in regular contact.
I used steel wool and mineral oil on the rest of the chair. Start by mixing a batch of rottenstone and mineral oil in a lidded jar. The consistency should be that of a thick salad dressing. Stack three clean, lint-free rags in the jar and shake it up to saturate the rags.
Make square, hand-wide pads from the rags, and rub the arms in the direction of the grain, as shown in Photo C. Disperse even pressure using the wide pads. Finally, use compressed air to blow any remaining rottenstone from the nooks and crannies, and then wash the piece down with a dampened rag and dish detergent to remove the oily residue. Take serious care of your oily rags. Those saturated with any oily finishing product, such as linseed oil, can and will spontaneously combust.
I overcome this problem by hanging the rags out on a wash line or over the rungs of a ladder. Opening the rag up so that air can touch all surfaces allows the heat reaction of the curing oil to dissipate in a nonviolent manner. You must be logged in to write a comment. Log In. Find a Store. My Account. My Cart. Go to Home Page. Mobile Navigation.
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