Finishing Techniques for Wood Crafters. Lora S. Irish
Чтение книги онлайн.
Читать онлайн книгу Finishing Techniques for Wood Crafters - Lora S. Irish страница 5
Название: Finishing Techniques for Wood Crafters
Автор: Lora S. Irish
Издательство: Ingram
Жанр: Сделай Сам
isbn: 9781607655015
isbn:
Possible Problems: Obtaining a deep, smooth finish with paste wax does take a little more time and effort than other finishes. Do not hurry the application of multiple layers when working with paste wax. Instead, allow a day or more between coats to allow previous coats to thoroughly cure. Slow and steady creates the perfect wax finish.
Spray Versus Brush-On Sealers
Polyurethane, acrylic, varnish, and even shellacs are now readily available to crafters as both spray-on and brush-on finishes. Use a spray sealer when you need a fast-drying finish or an intermediate sealing layer between color applications. There are no pans, tubs, brushes, or rags to clean up after you have applied a spray sealer layer. They tend to dry to a reworkable stage within a few minutes to up to a few hours. Use any spray sealer in a well-ventilated area or outdoors. Several light coats of spray sealer are better than one heavy coat, which can take extra time to cure or can cause dripping or allow puddles to form. Turn the orientation of the project with each new layer of spray to ensure that you seal all the cracks, crevices, and undercuts.
Brush-on sealers are often used when you want an even, controllable application. They should also be used in a well-ventilated area. Apply thin coats, brushing the excess sealer out of any deep areas of the work. Brush-on sealers tend to take longer than spray sealers to cure to a reworkable stage, so allow a little extra time to complete a project. Read the instructions on the jar to discover what solvents may be needed to clean the brush after each use.
This is a brush-on acrylic satin finish.
UV Protection
Not all wood finishes or wood sealers add UV protection to your project. Check the can or jar label if you need a finish that can stand up over time to bright, direct sunlight. Polyurethane and acrylic sealers offer the strongest UV protection. Also check the labels for indoor and outdoor use.
Wood Patina
Wood naturally changes color with age, developing a darker tonal value patina. White pine, which has a very clear, white color when freshly cut, becomes a deep golden-yellow within a decade. Birch and basswood, both common pyrography woods, darken to a soft taupe or beige-brown color.
As wood ages, it can affect the quality of a work. For example, if you work a pyrography project with very pale tonal values, over time those values can become faded and completely lost. Painting will also be affected as
the wood slowly darkens and overpowers pale and pale-medium colored areas.
You cannot prevent wood from aging. However, you can take several easy precautions to minimize the effects of aging:
• For pyrography projects, check what patina coloration changes a wood will develop before you begin burning. If the wood will darken dramatically over time, work the burning in strong mid-medium to black-dark tones, avoiding the pale tonal range.
• Use a sealer that provides UV light protection. This reduces the oxidation that causes wood to develop a patina.
• Do not display or hang your work in full sunlight, for the same reason.
• Avoid using oil finishes on woods that have naturally dark patinas. For example, birch plywood can take on a soft beige tone when coated with Danish oil finish or tung oil. It naturally develops a deeper beige tone through aging patina. When combined, these two factors can totally block out mid-tone values within a few years.
“After the Rain” (top) was burned in 2017, whereas “Country Church” (above) was burned in 2001. Both were burned on birch plywood, and time has created a deep golden patina on the older piece.
Tip: You can buy a set of wooden tools designed for sculpting clay that will work wonderfully for burnishing—they can get into the sharp angles and deep carved areas of a project.
Burnishing can be a finish in its own right—no paint needed.
Burnish wood with a harder type of wood.
Burnished wood is very smooth and pleasant to handle.
Burnishing
This book is primarily about paint finishes, but sometimes the very best finish is no finish at all.
This particular Whittle Fish sat untouched on my table as I was working on this book and painting and finishing countless other fish just like it. It is not that I ignored it or avoided it; I simply never came to a painting process that seemed right for this particular body. The body shape was so streamlined that it seemed any painting would take away from its simple form. So I decided to use the simplest finish possible—burnishing— to complement that simple shape.
To burnish, use a small piece of wood, in this case a wooden spoon, to rub the entire surface of the carving using a medium pressure. You should feel the pressure against the wood, but your fingers and hand should not feel cramped. Rub the entire surface several times until the carving has an even, smooth-feeling, soft sheen. Burnishing is a wonderful finish for any carving that will be heavily handled; the finished result just feels great in your hand.
Burnishing works best when the item used to burnish is a hardwood such as ash, birch, or maple. For basswood practice pieces like this one, for example, a wooden spoon made of poplar or birch works very well. To burnish a hard wood like walnut, I would use an even harder wood like maple.
Конец ознакомительного фрагмента.
Текст предоставлен ООО «ЛитРес».
Прочитайте эту книгу целиком, купив полную легальную версию на ЛитРес.
Безопасно оплатить книгу можно банковской картой Visa, MasterCard, Maestro, со счета мобильного телефона, с платежного терминала, в салоне МТС или Связной, через PayPal, WebMoney, Яндекс.Деньги, СКАЧАТЬ