PREPARING THE SURFACE Wood must be smooth, clean and free from blemishes | Using filters before you apply asurface finish. Paini may cover | Pressfillerinto the blemish, ‘minor imperfections, but aclear finish willexagger-_ | Withasmall flexible blade, aieevery defer including fine scratches acrass he — | R88 arts plete aaa) Preparing the surjace is the first essential | chisel. When the filler has set ‘SEE ALSO. stage of finishing wood. ____ | hard, sand it flush with the am ——— | surfaceotthe wood. Ifthe 750 color match sn'tsatis ‘© Mostof the materiaus ii | FILLING HOLES AND CRACKS factory, touch in the filer finish wood are iu withminute quantities of mable,so sore LIS | When electing wood, youshouldreject poor-quality materials_| artists oil pant, using afine Tawepas 28 | exhibinng cracks holesand deadknots,butoccasionalyit | paintbrush, Let the paint 8 | isnecessarytoaccept aless-thanperfectsanple.especally | dry thoroughly before 1 | whenbuying wood that israre or iemporarily'n short supply. | applying a surface Rash Exen when youhave chosen careflly,eracks can open up at alate stageandmustbe deat wih before youapplyafinish. | Melting ashellcstick Using the tip of a warm soldering iron, melt the shellac, allowingittodrip conto the blemish. While the shellacis til soft, dip the tip of achiselin water and useit topress the shellacinto the erack or knot, When the Shellaciscooland hard, pareit lush witha chisel then sand it with very fine sandpaper. every unpleasant, actually harmful ‘Wood putty Acommercal hole filler isa stiff paste made tofillsmall holes and cracks before applying clear or opagucfinish. Although llersaremadeinarangeofeolors resembling | Sandthesurface of the wood ‘© Remorigpatcies various common species of wood, at best you can o1ly andsealitwithsbella ihe expecta close match and the match wil hardly ever be before filling wth wax, Use Wisssinaioits, perfect However, youcan adjust the color ofthefillerwitha | awarmed knife blade to aivapstasteva),, dropofwood stain butsinceholefilersmay bewater, | soften thewax and to press Semretemen™ lacauer-oroilbased, makesureyoualways useasimilrly | iintocracks orsmall oles Simpendlistot constituted stain, Asthe wax hardens, scrape ater youth ue icflsh with the knife then Giitwalsteweod” Celllse filler bburnishitwith the back of a ‘odvilitow pals Ifyouareplanning apply anopague paint finish, youcan | piece of sandpaper. ratchsafersaisinger fl blemishes with ordinary spuckle or water putty mixed toa ising Oesconee Supra, fpotrorbandencd gic RAISING ADEN baton Gaihing Shellac sticks Sticks of solidified shellacare ideal for repuitingacrack or | Ifyouaccidentallydenta Seles smallknotholes before applying any ype of finish. They are | workpiece, lay a dampetoth Ratpowinoswit madein dozens of wood-ikecolors ver the blemish and apply cel” hour paint {hetipofaheated soldering work levingdank — Waxsticks iron, The heat generates aiiontiermfac,_Ffingsticks ofearnauba wax mixed with esinsandcotor- | steam, which causes the foryeustol'® ngpigments are used todsguise small wormholes and hair | wood ibersto swell locally, Rime gstofe, _inecracks in wood. tisadvisabe to usethem only for Iiing the dented section pantieLaowwiivo Work hatistobewax-polished, as mos finishes willnot | fash with the surrounding Sontofshlac bas” dy overa wax-flled hole. Specl waxcrayonsaremadefor | surface. low the wood sae reiouchingsratches in polished surfaces. dy before sanding 284 CE hhhSANDING WOOD Power sanders relieve a woodworker of the chore of smoothing large flat areas — but for best-quality work, give the wood at east one fnal light sanding by hand. Abrasive papers |Avaricty of abrasive materials glued to paper backing sheets| tye used to smooth wood and hardened surface finishes. All these abrasives are known collectively as sandpaper, though this term was originally used to describe glasspaper only Glesspaper is pate yellow in color. It wears quickly and, although not really suitable for fine woodwork, is a cheap ‘option for sanding softwoods. It is also known as flintpaper. Gore paper is made from a reddish-brown natural mineral that forms hard particles with sharp cutting edges (Garnet paper is a good-quality abrasive both for softwoods Alminun-oxide paper is even harder than garnet paper. Itis produced in standard-size sheets for handwork and is sso used widely as an abrasive for power tools, Aluminumn- oxide papers are available indifferent colors, This type of shrasive is especially good for sanding dense hardwoods. Silicon-carbide paper varies from dark gray to black. Its made from a synthetic material and is used mainly for finish- ing metals or, with water asa lubricant, for smoothing yaintwork between coats, Often referred to as “wet-or-dry Jiper,"itis used without lubricant for sanding hardwoods. Apale-grayslicon-carbide paper dusted with zine-oxide powder that acts asa dry lubricant is preferable for rubbing Gown French polis, which would be spoiled by using water asa lubricant Grading sandpaper Sandpapers are graded according to abrasive- particle size and are roughly classified as having very coarse, course, medium, fine or very fine grit, They are also graded by number (typically from 600 1040 or, using another system, from 910 to 1) the higher the number, the finer the grit Use progressively finer grits, so that each grade removes, the scratches left by the previous paper. AS a guide, ‘coarse to fine grades are suitable for general work and very fine grades for cutting back surface finishes. In addition, there are closed-coat or open-coat {gps of sandpaper. Closed coat papers have particles, grouped closely together for fast sanding, whereas open- coat abrasives have large saps between the particles, hich clog less readily, and so are better for resinous softwoods, | Sandpaper grades Verycoarse [40 ‘Sanding by hand ‘Tear sheets of sandpaper into convenient strips over theedge of a bench: Wrap a strip around a cork sanding block and use it to smooth | flat workpiece, always working with the grain (1). ‘Take care not to sound over sharp corners inadvertently when you approach an edge ~but ifyou want to remove the arrs (the sharp “line” Where two surfaces meet), sand a chamfer deliberately, using the same block (2), Weap sandpaper around a shaped block when you are sanding moldings (3) Lay aside sanding blocks and use your fingertips to apply pressure to sandpaper ‘wen smoothing curved surfaces or for very light sanding (4). When sand- paper becomes clogged with ‘wood dust, tap itagainst the workbench to clear the abrasive particles, ee When the surface appears \ tobe as smooth as possible, in order to raise the grain, dampen the wood witha Wet rag and leave it to dry A final light sanding will then remove the fine fibers, leavinga perfect finish Finally, remove the wood _4Useagrtipreware dust with acloth dampened ferigh sand with mineral spirits, of use a commercial “tack rag” (2 Storing sandpaper cloth impregnated with Wrapshets of sind resin). oper in plastic to keep {hem dy wl being ‘Sanding end grain sored. Rub your finger along the surface of end grain before sanding. It wll fee rougher in one direction and rela- tively smooth in another. Sand in the smoother direc- tion for a superior finish Abrasive papers 1Glasspaper 2.Garnet paper 3 Aluminum oxide paper 4 Silcon- French polices 1 Uafatihed mahogany 2 Mahogany fnished ‘wth baton slic 3 Mahogany finished With garnet shellac ‘White sels on maple ‘TYPES OF SHELLAC “Orange” and “white” liquid shellacs are widely available ‘commercially, or you can ‘make your own blends by dissolving dry shellac flakes in methylated alcohol. Once ‘mixed, liguid shellac has a limited shel fe, after which twill not dry hard. Blond shellac ‘This isthe highest grade of shellac flakes, ranging from super-blond, the lightest in color, to various grades known as “lemon,” Button and garnet shellac Button-lac was once shellac sold in the form of dises or “tuttons,” but these have not been available for years. ‘Now the term is used to describe a less-refined grade of shellac flake that is darker incolor than the blond and Jemon varieties. Garnet isa rich red-brown in color. ‘Orange shellac ‘Commercial liquid shellac ‘suited to most wood finish- ing purposes, with a longer shelf life than commercial, “white” shellac. is usually sold in 3Ibeut, or three pounds of dry shellac mixed ‘with one gallon of alcohol by the manufacturer. This isa good rough guideline for mixing dry shellacs as wel, White shellac Bleached “white” shelluc hhasa short shelf life in dry form, and is therefore always sold premixed. Its liquid shelf life is short. [is suit- able for use on marquetry or ‘other low-wear applications, ‘especially over light-colored ‘woods. Dewaxed shellac ‘Natural shellac contains waxes that very slightly dull the appearance of the film, butalso make it more flexible. To achieve finishes ‘ofthe highest gloss and hhardness, manufacturers remove the wax. Colored shellacs ‘Shellacs can be tinted with alcohol-soluble dyes. A green color can be used to Stone down” raw-red mahogany; a red-brown will enrich dull-brown wood, = 288 BRUSHING SHELLAC Traditional French polish- ing demands sill and practice before you ean Achieve perfect results Consequently, many wood: workers prefer to brash Slightly thined sbelac onto the wood then rub down between coats rather than sappy the poishin thera tional manner. ‘Te technique for brushing shellac iseasy to master. Use soft brush to apply an even oat, then after 15 0 20. rmimutes, rub down lightly with etubrieatingslicon- soo Having Speed 2 ied coat in the same wy, rub it down with 0000 ste ‘woo! dipped in wax polish, then ater five minutes, Dumish witha soft cloth Applying brosing French pot ‘Uses ott ras fo apply aneven coal of shellac othe marace ubing down with td woo! ‘ob hefinal oat phy the won ofthe grain,‘TRADITIONAL FRENCH POLISHING Traditionally, French polish ‘sapplied, thin layer upon layer, sing a bal of cotton wrapped ina white nen rag ‘omakeasoftpad knownasa rubber.” ‘Making a rubber Upbolserer's skin wadding 'sthe best material for mak inga rubber, but ordinary cotton will do almost as well. Take a handful of the material, squeeze it roughly ‘exp-shaped and place it in the center ofa 9 to 12in (225 to 300mm) square of linen (1), Fold the fabric over the cotton 2), then turn in the edges Q), gathering the loose ‘material inthe palm of your hand (4). Smooth out any. ‘wrinkles across the sole ofthe pad. 2 Feld one corner (Charging a rubber ‘Unfold the linen square, then, holding the rubber in the palm of your hand, pour shellac polish onto the pad untilitis fully charged but not absolutely saturated. Fold the rubber ‘again, as described left, and press it against a serap board to squeeze out the polish and distributeitevenly across the sole Use your fingertip to apply a drop of linseed ol fo the sole to act asa lubricant Applying the poish ‘Toapply French polish to.a at surface, fist make over- lapping circular strokes with the rubber, gradually covering the whole panel with shellac (1), Then go over the surface ‘again, this time using igure-eight strokes 2). Varying the stroke ensures an even coverage. Finish with straight overlapping strokes parallel tothe grain (3). Very little pressure is required with a freshly charged "rubber, but gradually inerease the pressure as the work proceeds. Always keep the rubber on the move, sweeping it on and off the surface atthe beginning and end of each com- plete coverage. Ifyou stop with the rubber in contact with the work, it wll stick and sear the polish, in which case you ‘must let it harden thoroughly before rubbing it down with. very fine self-lubricating silicon-carbide paper. Recharge your rubber with polish as necessary and add another spot ‘of linseed oil when the rubber starts to drag, ‘Assuming the first application is free from blemishes, leave itto dry for about half an hour, then repeat the process. Build up four of five coats in this way, then leave the shellac toharden overnight, Keep your rubber in a serew-top glass Jat while you allow the polish to dry. ‘The next day, sand out any runs, dust particles or rubber ‘marks with siicon-carbide paper before applying another four to five coats of polish. Judge for yourseif when you have built up a protective body of polish with the required depth ‘of color, but 10 to 20 coats will be sufficient. Polishing moldings and carvings Panels with large shallow moldings can be polished with a rubber, but use a soft brush to apply slightly thinned shellac to.deep moldings or carvings. A squirrel-hair brush from a specialist supplier is ideal, but you can make do with an ordinary good-quality paintbrush, Apply the polish rela- tively quickly and evenly, but not too quickly or it will run. When the shellac has hardened, spirit off with a rubber as described below, but only burnish lightly or you will remove too much polish from the high points, Spiriting-of The linseed-oil lubricant leaves streaks in the surface of the polish. Remove the streaks and burnish the polish to a gloss finish using a rubber practically empty of shellac but with a few drops of methylated alcohol on the sole. Apply the rubber to the polished surface using straight parallel strokes only, gliding on and off the panel atthe beginning and end of ‘each stroke. Recharge with more methylated alcohol as soon as the rubber begins to drag, Leave the work for a couple of ‘minutes to see ifthe streaking disappears, Ifit doesn't, spirit, off again until you have achieved the required finish, After half an hour, burnish the surface with a dry, soft rag, then leave the work for atleast a week to harden completely. Creating a satin finish Ifyou don’t care for a high-gloss finish, matte the fully hhardened surface by rubbing it lightly with a ball of 0000 steel wool dipped in soft wax polish. Use straight, parallel, ‘overlapping strokes until the surface is dulled evenly, then burnish it to an attractive satin sheen with a soft cloth, adding a little more wax polish if necessary, 289aquers, varnishes snd pant Talos aequer onmaple Cheat extalyzed lacquer on pine Slack eatlyzed lacquer 4G potyuretune ‘aris on tile '5 Tinted polyuretiane varnish on oak (solvent-based paint onpine LACQUER, VARNISH AND PAINT Lacquer, varnish and paint are grouped together here ‘appropriate solvents, time between coats and pre-_ because these finishes are applied in similar ways, ‘cautions for use. Most paints are in effect clear either by brush or spray gun. Consult the label for Nitrocellulose lacquer This has been a popular industrial wood finish for decades, primarily because itdries extremely quickly ‘There are special brushing varieties, but lacquer nor- ‘mally has to be sprayed on to.achieve the desired result, Lacquer dries by solvent evaporation, leaving a surface layer that is partly redissolved by the next application a process that eventually results in one integral coat of lacquer. ‘Nitrocellulose lacquer is practically water-clear and will hardly change the color of the wood to which it is applied. It forms a hard finish tha i resistant to hheat and moisture. Catalyzed lacquers A catalyzed lacquer cures by ‘chemical action the lacquer ‘Won't set without the ntro- duction of a hardener, With precatalyzed lacquers, the Calalyst and lacquer are ‘mixed by the manufacturer, although setting does not ‘occur tntl the finish is ‘exposed to air. An acid cealalyzed lacquer is supplied. as two separate components for the woodworker to mix just before applying ito the work. Catalyzed lacquers are very transparent ~ they are also exceptionally hard- ‘wearing and stain-resistant Both gloss and matte lacquers are available, and you can buy opaque black and white acid-catalyzed Tacquers as well as the more familiar clear variety. All catalyzed lacquers can be diluted with special thinners for spraying and some are ormulated for brushing on. ‘Most are extremely toxi re Tacquers or varnishes with additional pigments. Varnishes Synthetic resins such as polyurethane are used to ‘make modern wood var- nishes thatare heat-resistant, ‘waterproof and extremely hard-Wearing. Although most varnishes can be used straight from the can, some are supplied with a catalyst that is added just before the varnish is applied. These ‘two-part varnishes are so resistant to abrasion that they are used for finishing ‘wooden floors, but they have a relatively short pot life and adhesion between, ‘coats is not always satis- factory. They also give off unpleasant fumes. Exterior-grade varnishes are made to be weather- resistant and “yacht varnish,” whieh will with- stand exposure to salt water, is especially suitable for ‘coastal climates. ‘There are clear varnishes that dry to a matte, satin or sloss finish, and tinted var- nishes are available for coloring wood. Asa tinted varnish does not penetrate the wood like a true stain, there is always the possibility ‘of eolor loss due to localized wear. Asa safeguard, apply ‘one or two additional coats of cleat varnish to preserve the color. Tinted varnish is useful for adjusting the color ofa workpiece that has already been varnished. You ccan apply varnish with a paintbrush or dilute it with thinner for spraying. Paint Solvent-based paints for ‘Wood are made from solid pigments suspended ina Synthetic resin, such as alkyd, vinyl acrylic, urea ‘or polyurethane, mixed with oil. Certain additives alter the quality ofthe paint to makeiit glossy, matte satin, fastedrying and so on. Most solvent-based paints havea liquid consistency, but you can also buy thixotropic (aondrip) paints thatare jelly-like in the can and flow ‘only when agitated by brusl- ing them onto a surface. Paints with specific proper: ties are used in sequence to build up a hard-wearing protective coating. A primer {5 used fist, to seal the bare ‘wood and prevent absorp: tion of subsequent coats. It is flowed by one or two applications of a heavily pigmented undercoat to ‘obliterate the primer and build up a body of paint. ‘The final top coat provides wipe-clean surface ofthe required color and texture ‘Opaque paints are intended for finishing cheap hardwood as well as softwood and ‘man-made boards. Resi based paints can be applied by brush, and all but thixo- tropic paints can be sprayed ‘Water-based paints will raise the grain if used to finish wood. | CLEANING PAINTERUSHES ‘When you have finished work, brush out excess paint, var- nish of lacquer on newspaper in order to clean the bristles Flex the brush in the finish-maker’s recommended thinner (mineral spirits for most paints and varnishes), then wash the dirty thinner from the bristles with hot soapy water and rinse them, Shape the bristles with your fingers while they are sll wet, When dry, wrap the bristles in soft paper and slip an elastic band around the ferule ofthe brush to secure the wrapping, 290| APPLYING FINISHES BY BRUSH. Spraying produces the most professiona-looking fish but it | rexpensive ould and equip espray boot ha complies with | heath and sfet recommendations. Consequently, apiying lear finishes ane pains witha brash isthe ony viable option | formany amateur woodworkers, However, provided you use ‘welLmatntained, good-quality brushes and exercise care and Patience, you can achieve more than satisfactory revs Cmployng ordinary workshop facies. Buy a range of Shes” say j1 and Zin (12,25 an Sma) wide for seeral work, and atin (100mm) Brash for coating large | flat surfaces. Brushing cellulose lacquer Itrequiresa certain amount of experience to apply a brushing lacquer without leaving brush marks or ridges that are dif- cult to rub down. First, using a soft cloth ora brush, apply Jcquer thinned by 50 percent to act as a sealer coat. Load asoft brush with full-strength lacquer and, holding the bristles ata shallow angle to the horizontal surface, lay the finish onto the surface with long, straight strokes. Don't attempt to brush it out like varnish, and avoid going back over the same area twice. Quickly pick up wet edges with ffesh lacquer and allow the brush marks to flow out by themselves. Build up two or three coats of lacquer, rubbing ‘down with very fine silicon-carbide paper in between, Each coat usually takes about an hour to dry — but check the ‘manufacturer's instructions. ITyou are unhappy with the appearance of the final coat, flatten it with sandpaper again and apply a commercial rubbing compound with a soft cloth ‘abut the finish, Some experienced woodworkers prefer to use a “pullover solution” made from one part cellulose thinner mixed with three parts mineral spirits to put the final shine on nitro- cellulose lacquer. This isnot an easy technique to perfect and you must take care to avoid stripping the surface by applying, ‘oo much solution. Having fattened the lacquer with siicon- carbide paper, moisten a cloth pad with pull-over solution and apply t1o the surface, using overlapping circular | strokes followed by straight ones in the direction of the ‘rain, as when applying French polish. Aprlying acid-catalyzed lacquer Chemical composition and balance is crucial tothe curing of acid-catalyzed lacquer, s0 itis essential to follow the ‘manufacturer's recommendations for mixing the com- ponents and preparing the surface of the wood. Clean the ‘wood well, since the presence of grease or wax, for example, can delay curing for days. Mixjust enough lacquer for your needs, and don’t return the residue to the original container of the entire contents will become unusable ‘The specticmethod of application may differ from product to product, butas.a rule you can brush a liberal coat of | lacquer onto the wood, spreading it with straight, parallel sirokes along the grain. There is no need to brush it out like ‘varnish just leave the film to settle naturally. When you are coating a large area, work relatively quickly to blend wet ‘edges before the lacquer stats to set. This will probably take between 10 and 15 minutes. Apply a second coat about two hours later and, having rubbed t down lightly with very fine slicon-carbide paper to remove dust particles, add a third coat two hours after that. For perfect adhesion between coats, ry to apply all three in the same day. Ifyou want a mirror finish, leave gloss lacquer to harden {or 24hours, then buifit with a polishing compound ona soft cloth. Fora satin finish, rub the gloss lacquer with 0000 steel woo! dipped in wax polish then buff with a clean, soft rag. Applying varnish ‘When finishing bare wood with clear or tinted varnish, first apply a sealer coat thinned by 10 to 20 pereent with mineral spirits. Use a soft cloth pad to rub it into the wood in the direction of the grain, or brush on the sealer coat where a pad ‘would be inconvenient. Apply the second coat by brush not les thaa six hours later~and if more than 24 hours have elapsed between coats, key the surface of ‘oss varnish witha very fine Silicon-carbide paper. Remove the wood dust, usingacloth dampened with ‘mineral spirits, before brushing on the varnish. For ahand-wearing surface, apply a third coatin the same way, To load a brush with var- nish, dip only the first third of the bristles into the finish and touch it offon the inside of the container to remove excess liquid. Do not drag the bristles across the rim of the can, as that promotes bubbles in the varnish — Which, if transferred to the work, may end up set in the surface coating Paint the varnish onto the ‘wood, brushing it in differ- cent directions to spread the finish evenly and blend each new coat with the wet edges of the previous application, Finally, “lay off” with Hight strokes in the direction of the grain. Don’t brush back over a coat of varnish once ithas begun to set or you will leave permanent brush ‘marks. If this should happen, leave the finish to hharden overnight then rub out the brush marks and any other blemishes with silieon- carbide paper lubricated with water dust particles settle on your final gloss surface, either rub down and varnish ‘again or modify the finish with steel wool and wax, Dip 0000 stee! woo! in wax polish and burnish the surface in the direction of the grain. Buff the treated surface with arag to raise an attractive soft sheen free from obvious imperfections, 291 ‘Apply sealer coat of arash wih a cloth pad Applying paint Most solvent-based paints are applied like varnish, brushing them outto provide an even cover, then laying. off with parallel sirokes of the brush. However, there sno need to brush out thixotropic paints ~ instead, apply a fairly liberal coat of paint, brushing with virtu- ally parallel strokes only, ‘and leave the brush matks to low out naturally Allow enough time for each coat of paint to dry accord= ing to the manufacturer's instructions, then rub down with a very fine silicon- ‘carbide paper and wipe the surface clean with a rag. Leave the final top coat to dry overnight ina dust-free ‘environment before hand ling the workpiece again, AVOIDING RUNS IN PAINT OR VARNISH Iyou neglect to brush out a iberal coat ofnormal solvent-based paint oF var- Tish on vertical surface, ‘will sag to formaheavy ridge ilar in appearance (oa draped curtain. Prevent ‘curtaining” by applying an even coa, then layoff with tpward brush strokes (D. “Teardrop runs are caused by lexinga loaded brush against a molding or the commer of panel. Always spply paint along moldings “fever across them and pay particular attention to brushing outa both dree- tions from corners where te moldings cet). ‘When painting up tothe edge of panel, brush out- ward away from the center )-Iryou brush back Suis the ais 308 wl scrape paint off ie bristles, ieavingitto rundown, Laying ot ‘Bw toward ogoSEEALSO spr 218 —Sateytes ‘asi ars HS The varish snp 20 es a wore Use tothe to ‘lear a blockage SPRAYING WOOD FINISHES Once you have mastered the basic techniques, you __ | Bullding a spray booth can finish a workpiece with a perfectly even coat of — | The only safe way to spray varnish, paint or lacquer, using a spray gun and com. | indvorsts oconstricl ‘pressor: When these volatile inishes ae distributed | eecosed booth that wil ‘asa fine mist in the air, they form a potentially Fextof the workshop Install explosive environment and constitute a serious health | a powerful exhaust fan on hazard. Y You should therefore either spray woodwork | #8 outside wall to remove “outside or Bui noxious solvent fumes spray booth equipped with an | Vrowever, these fumes create “@flicient exhaust system. However, check with your | txeha'fammable atmosphere Tocal authorities to see if you are allowed fo spray in_| that even a sparking electric your locality and to make sure that you will not be __ | motor can cause them to violating any fire or safety regulation. an explosion-proof motor fan to collect the overspray Paint-spraying equipment mixes pressurized air witha liquid | You will also need explosion- “finish and deposits tin the form of very fine partiles on the | proof lamps that can be ‘surface ofthe work. ‘itched on or off from Spray gun and compressor | outside. Check with your annowscrn —Anelectrically powered | supplier that your eom- ‘compressor pressurizesil- | pressor is safe to use inside fnupouur tered air and deliversit viaa | the booth, or install it out allowing air to flow through | at this point to prevent the gun and exit through the | moisture in the pressurized fluid tip a small hole in the | air from condensing in the center ofthe aircap- where | hose and spoiling the work itismixed with paint ora | To hold small workpieces, clear finish siphoned froma | makea turntable, using a side ofthe fluid tip, whereit | sawhorses. emerges through tiny holes, ccausing the spray to spread ut like a fan. Air flow and adjustment valve | equipment manufacturer's aa pases carom an * espiratorcven When raying outside. ¢ Constructs properly ‘¢ Construct a proper rapped spray booth. Neveremoke, anc extinguish all naked (Cleaning a spray gun ‘lames when spraying. ‘When you have fnished Spusige-empy thefinsh | Keepyoungenitces hntainerang sdéckan |" awayiromspraying ‘thinner. Operate the gun ‘equipment. Unt erect cear hiner | @ Neversima spray gun merges, then release hear | atanyone, prestre,dismantietheair |e Disconnect theequip- "ment and release the ‘cap and clean the compon- ents with a rag dampened insolvent. Use a wooden toothpick to clear a paint ‘blockage in the cap. indoorsis to construct fully ignite —so obtain a fan with froma specialist supplier and SPRAYING EQUIPMENT fiva paint filter infront ofthe screw flexible hose toa spray gun. | side with a connection for the Squeezing the gun's trigger | hose fitted to the booth wall ‘opens an airintet valve, | Ideally, include water trap sealed container thatis usu- | disc of chipboard screwed to ally mounted below the gun, | an old swivel-chair base, and Some of the pressurized air | stand itin front of the filtered is diverted to horns on either | fan. Support larger pieoes on ‘uid output are modified by ‘turning valve screws on the ‘back ofthe spray gun. Some = ‘guns are made with an addi- | Afways follow the spray atthe base of the handgeip | advice regarding health and 292 ‘THINNING PAINT, VARNISH OR LACQUER All finishes, most of which fare sold in brushable con- sistency, must be diluted ‘with the appropriate thinner to render them fluid enough to be sprayed. Check manu facturers’ recommendations for the type of thinner to use and the ideal ratio of thinner tofinish, ‘Having measured out and ‘mixed the components, use the following rough rule of thumb Co test the consistency of the finish. Stir the finish with a wooden stick, then liftit out and watch how the finish runs from the tip. When the finish runs ina steady, continuous stream, itis about right for spraying ‘Aslow, interrupted stream indicates an over-thick ‘consistency that wll not spray efficiently. Itis notso ‘easy with this method to tel when a finish is too fluid, but a short burst of diluted finish sprayed onto a vertical practice board will give you ‘aclue—ifit runs almost at ‘once, its 100 thin Fora more accurate gauge ‘of consistency, obtain a viscosity cup from the spray- equipment manufacturer. Fill the cup, which i similar toa funnel, with thinned finish and time how long it takes to empty. Adjust the consistency until the time ‘corresponds with the recommended figureBASIC SPRAYING TECHNIQUES Ifyou have never sprayed finishes before, itis Best 10 practice ‘on.a piece of serap board before spraying a workplece. Spraying a vertical panel ‘To spray a vertical panel, hold the gun approximately Sin (200mm) away from the surface, with the air horns turned horizontally to create a vertical fan-shaped spray pattern, Point the gun directly at the work and keep it mov. {ng on a path parallel to the surface throughout one pass (). Avoid swinging the gun in an axe 2) or the finish will be applied thinly at each end of the pass, Squeeze the just before each pass, and don't release it until the spray pattern is clear of the work atthe other end (3). Aim the ‘center ofthe spray pattern at the edge of the panel, On the return pass, overlap the previous application by about 50 percent (4) and continue with overlapping passes until you have covered the panel with finish. Move a spray gun path parallel othe work 2Swingng the gon produces an acven coverage 3 Startand fh clear of work ipger Spraying a horizontal panel ‘To spray a horizontal panel, such as a table top, spray the edges first then work in parallel bands, aiming the gun at about 45 degrees to the surface. Work away from you, ‘overlapping each pass as you do so. Spraying legs and rails ‘Aim the gun at a comer to spray two sides of a leg or rail simultaneously. Spray from the opposite side of the leg to Coat the remaining surfaces HYLP TECHNOLOGY _ A new approach to spraying —ealled High Velocity ‘Low Pressure, or HVLP is finding its way into the woodshop, Here's why ‘When you spray the inside 4 Overap previow appleation an he return pss Taditional spraying uses a relatively small amount of air under high pressure fo atomize the coating and transfer it to the work. The air com- pressor usually requires a lange storage tank to provide a continuous supply of pressurized air HYVLP takes different approach. Instead of a compressor, a single or multi-stage turbine delivers a large quantity of air through larger hoses at relatively low pressure, Working with a spray gun designed for this air supply, you will get a better coating of the suface, with less blow. back, overspray and waste, ‘Costs of the two systems are roughly compa- rable, and application patterns and gun-handling techniques are very similar ofacabinet or drawer, be systematic and concentrate ‘on spraying each surface in ‘tum to achieve even cover- age. Spray the underside of the top pane! first, followed Dy one side, alway’ using ‘overlapping vertical passes, Continue across the back of the cabinet or drawer in the same way. Then spray the other side, and finally the bottom surface. Spray the outside after finishing the interior. 293‘ese are 285 Siding 26 Free po (© Restoring a ol ish ite srtce becomes scratched o stained, Yyoucan eal renovate i simply by applying ‘aah oles a Ott apd wax plsies Danish oilon oko 2Clearwaxon oak Antique wax on oak OIL AND WAX Oil and wax are among the easiest wood finishes to ly, no experience being necessary in order 10 cchieve fst rate renuls: Unilke vanishes and —— without Teaving a film that holds brush marks or ‘other blemishes— ided you use a fast-dr yin ist particles. Wax is used as a finish in its own right Iso as a dressing over varnish and lacquer. WOOD-FINISHING OILS itis traditionally used treat naturally oll woods such as teak and aftormosia, which tend to reject the majority of finishes. Bat itis equally suitale for other hardwoods and ‘even for softwoods which it endows witha rich amber color Oit's water-resistant properties are particularly advantageous for exterior woodwork. Moreover, d subsequent application nourishes oiled wood suffering from the effects of exposure 0 the sun. However, iis notsutable asa finish forthe interior of drawers or cupboards, where it could stain the conte. Linseed oil ‘Tang oil Raw linseed oil is suitable | Pure tung oil, also known for small objects only. Itcan | as China woed oil, is the take up to three days to dry, | most durable ol finish, It by which timeitmay be "| shrugs off water and is covered with fuffand dust. | resistant to heat and alcohol Boiled linseed oil is margin- | It takes 24 hours to dry, but ally better since it dries after_| careful rubbing down with ‘2Ahours, but neither oil | very fine silicon-carbide formsa hard, durable finish. | paper between coats will, produce a superb fish, Apply five or six coats in all, Danish and teak oils ‘Tungoiland other vegetable oils usually form the basis of| a number of commercially prepared finishes known variously as Danish or teak oils, Driers are incorporated. in these oils to shorten the time between applications toaboutsix hours. Heat, alcohol and water may temporarily eave white stains on the surface, but they disappear quickly. More permanent blemishes ccan be effaced with a wipe of fresh ol Salad-bowl oil Most wood-finishing oils, contain toxic materials However, you can buy ‘non-toxic “salad-bow oil” for wooden counter tops, chopping blocks and other objects, such as bowls and spoons, that come into contact with food, Or, if you prefer, use olive oil, or other edibie ols, instead, WAXES Inthe past, woodworkers made paste wax by dissolving a@mixture of beeswax and hhardearmanba wax in turpen- tine. These raw materials are ‘ull available, but there are so ‘many excellent ready-made preparations. onthe market that most woodworkers do hot findit necesiary to make theron Wax makes for anatiactive ‘meliow nish that seems 0 improse with age. tis pro- duced na range of colors, from practically transparent for pale woods 1 dep brown “antique polishes" that create the impresion of an aged patina and wil disguise Scratches ina finshed surface Silicones are added to some polishes to make them east but if hey trate the wood, they are lifteat to remove and wil repel practically any other Jinish should the workpiece ever hase tobe restored. Liquid or eream waxes LLiguid or cream waxes are fluid enough to be brushed into the wood. Two oF three applications are required 10 ‘upa protective body of polish. Paste wax A paste wax, made toa slightly thicker consistency, is ideal for application with ‘pad of very fine steel wool or lint-free rag. On harden- ing, itcan be buffed with a clean sft ag toa imprs- siveluster. ‘Woodsurning wax stick Astick of wax, hard enough to be used asa friction finish, is rubbed against a ‘workpiece spinning on a ‘woodturning lathe. APPLYING OIL Apply a generous coat of Danish of teak oil to clean well-prepared surface with a cloth pad or paintbrush, Leaveitto soak into the wood for a few minutes, then wipe over the surface with aclean rag to absorb ‘excess oil. Six hours later, apply a second coat and. leave it to dry overnight ‘The next day apply one more 294 coat, and bulfit to create a sheen, Ittakes longer to finish a surface with pure tung ol. ‘Afler the initial coating, applied liberally with a brush and rubbed over as already described, apply several thinner coats to, allow the oil to dry between Applications. Ir dust par- ticles adhere to the surface during the 24-hour drying period, rub it down lightly With very fine sandpaper in the direction ofthe grain. APPLYING WAX Although you can apply ‘wax directly to bare wood, itisan advantage to seal the surface first with a varnish cr, for superior-quality work orollstained wood, with two coats of shellac sanding sealer or white French polish, Sealing pre vents the initial coat of wax from being absorbed too deeply into the grain, especially when you are using a liquid wax. Italso prevents dirt from sinking through the wax and permeating the wood over period of time, Hlaving flattened the sealer ‘coats with very fine silicon ‘carbide paper, ifyou are using a liquid wax, apply the fist liberal coat with a brush or use a soft cloth pad to rubitinto the wood with, circular strokes first and then straight ones inline With the grain. One hour Tater, bull up the wax and apply a thin coat with the ppad in the direction of the ‘rain only. Add a third coat, iffneeded, similarly and bull itasbefore. Leave the waxto harden for several hours, then burnish the surface vigorously with a clean soft rag. Tryou decide to useapaste- wax polish, apply it witha pad oF 000 steel wool, Fubbing with the grain only, and bring it toa shine wth softcloth