[Anthony Filetti]

I am experimenting with finishing techniques and I just completed some busts from Marv's book. The technique I am using is to put the BLO on prior to painting. Since I did not use pencil the bust had no smudges and did not require cleaning prior to using this technique, and thus all busts were dry.

The first bust I used just BLO and let dry for 24 hours, it turned a nice golden color evenly accross the whole bust.

The second and third I used BLO with some Burnt Umber Oil Paint, way too much BU if I may add. Using too much of the oil paint exaggerated the problem I saw, the end grain on the carving (top of the shoulders and head) absorbed
much more than the rest of bust. I have seen this when staining wood, I was just wondering if any one else had seen this and what their resolution might be?

Also if I had used the proper amount of Oil paint in the mixture would that have eliminated the need for a cure?

Thanks folks!

[AlArchie]

You might try using one of those "PRE-STAIN" tratments used for pine and some maples, to cut down on the inherent splotching, while staining. I've used these successfully on surface grain, but they might work just as well on end grain, as they partially seal the wood to prevent uneven absorption of the staining medium.

Al

[Anthony Filetti]

Al,

I thought about that after seeing the results. Its amazing to me that it does not appear to be the case when I use straight BLO. I would of thought that it would have shown the same difference but it didn't... (getting a good finish and finding the correct ratio when painting is just @*%^ frustrating!)

...thanks for the advice.

[AlArchie]

That BLO, although being a golden color, really doesn't have any actual pigment to be placed in suspension. The pigment particles are what actually color the wood when applied in either paint or stain. More of them are absorbed into the end grain, and kind of "stack up" in the tiny tubular cell structure of the wood.

I haven't tried this myself, but one of our instructors at the carving club recommends the use of aniline dyes rather than stain on some projects, because it is not dependant on the pigment particles, but rather dissoved (not suspended) pigment. Because there are no pigment particles to stack up, the aniline gives a more even coloration. That's what I've been told anyway.

You can get anilines in either water or alcohol soluble forms.

Al

[Anthony Filetti]

...thanks Al.

Tony, What is "BLO" ? Please explain to me. it sounds like a product I would use.

[Mitchell]

BLO = Boiled Linseed Oil.

Rocket, it seems that you may have used too much paint - as you had guessed. Your first coat "should" have sealed it to some degree, BUT it is not enough - again, it is evident in your results.

End grain absorbtion is one of the reasons I have been experimenting with sealing the carving with a polyurethane coat before painting. Then I coat again with the BLO/paint combination for antiquing. The paint in the BLO does not soak into the end grain.

This is not a "rule", but one of the methods that I have tried.

Mitch

[Anthony Filetti]

Thanks Mitchell.

It seems interesting to me that several folks have discussed sealing the wood at various points in the finish process.

In this experiment the wood was dry, although several folks wash their carvings as a first step of the finish process. I used to wash my carvings when I drew on them with pencil due to the smudges left behind. This limited the carvings ability to overly absorb any product.
I recently found that a pilot brand marker worked better for marking my carving (did not penetrate the wood too deep) and I wasn't left with the pencil smudges.
If I were to seal the carving(polyurethane) prior applying the BLO wouldn't that overly limit the effect we are trying to achieve (grain distinction) or is this an experiment as to how is used??

I know these are difficult questions, but finishing is an area I would like to improve upon. I'll keep experimenting!!

BTW I found that 3 drops of acrylic paint to 15 drops (from an eyedropper) of water is a good recipe for a wash (something else I was struggling with).

Sometimes I feel like a mad scientist in my labratory!!

Tony.

[Just Carving]

I have a question in reference to Tony's (Rocket39's) post on "washing" pencil/graphite off a carving. I understand the need to clean the carving prior to painting/washing. Are you using alcohol, or something else for cleaning?
The reason I ask is because lately, I have been using a kneaded eraser to clean no. 6B lead pencil marks that were lightly drawn, i.e. not embedded into the wood. Has anyone else tried this? The eraser is very pliable and great for getting into any crevices or on carved edgesof incised lettering to remove pencil marks. It isn't perfect but it allows me to remove most pencil marks especially if carving a design in which I incorporate changes along the way. One thing I haven't addressed is finishing afterwards. I'm not sure if any residue, i.e. oil is left after using the kneaded eraser. But my guess is that a quick cleaning with alcohol would take care of any oil or dirt , if any.

I could use the marker but that isn't practical when transferring a hand drawn or computer generated design from paper to wood which I do in the course of carving a sign.

Thanks.
Bob

[Anthony Filetti]

Bob,

I use kneaded erasers for sketching my designs but have not used it for trying to remove pencil marks from wood. THe nice thing about kneadable erasers is that they can be folded to use a clean portion of the eraser. I do not think any oils are present in the eraser itself, but in the oils in your hands are plentiful.
When I would clean my carvings I would use mild soapy water and a soft toothbrush. This works quite well. I would think that the use of alcohol would tend to try the wood and increase its ability to absorbe. Since the
wood is of varying density I would think it would the softer wood (less dense) would absorb more tint thus leaving the finish uneven. Hence this thread, the finish seems to be the most difficult portion of carving (at least for me..)
In caricature carving most like to paint with a wash to allow the grain to show through. Most articles I have read have you washing the carving and immediately after begin painting. This limits the absorbancy of the end grain of the wood as well as the carving as a whole, giving the carving an even washed or tinted look.
I will be taking a class w/ Gary Falin this summer and hope to get a better handle on the process.

Tony