Peter,
I am close to completing a sideboard project made of mahogony. I created an inlay pattern on the apron of the sideboard using maple (see attached photo). When I started this project, I decided (right or wrong) to use a non-penetrating mahogony stain. Now I realize that I have a problem with staining the apron without effecting the inlay. I had two options when I started the inlay. I could either stain the apron first and then carve and insert the inlay, or I could carve and insert the inlay and stain later. With the first option, the previously stained apron would be damaged when I sand down the inlay to be flush. In the second option, I have the problem of the stain effecting the inlay. I chose the second option. I tried to see how this would look on a sample board. It does not look bad, but I wanted to see if you have any other ideas. One person suggested using a fine craft brush and either somehow protecting the maple inlay with a clear finish, or using the brush to stain up to the edge of the inlay. One other concern I have is if there are any glue spots between the maple inlay and mahogony apron that might show (hopefully I did a good enough job to prevent that, but it is a concern).
Any suggestions?
Also for future reference, would I have been better off with a penetrating stain?
Regards,
Jeff
Replies
Jeff,
First things first; when you have completed the glue up and sanded, wipe the surface with mineral spirits. If you missed any glue spots you will know immediately.
What stain are you using? Brand and solvent?
The basic way to isolate one wood from accepting the color used on an adjacent wood is to lightly coat the one to remain uncolored with shellac.
However if you plan on using an NGR dye, it will penetrate the shellac. A simple alternative is to use a very dilute hide glue.
The thing you have going for you is the space you have between the inlays and the size of it.
Don't use a craft brush. They are basically worthless. Go to a decent art supply store and get a Taklon brush or an equal substitute. They will lay out a very thin easy to control layer. I like a filbert shape when doing this as the bristles are a little rounded at the edge. You can roll your wrist during application and get a very finely cut in line.
I think you'll find the inlay to be a little too white once you get the surrounding wood stained. If you have a sample use a little color in this isolation coat and see how it looks in the overall equation.
I'll get back to you with another brand of brush that I use for this when I get back in the shop.
BTW, nice job.
Good luck.
Peter
Peter,
Thanks for getting back to me so quickly. The stain I am using is General Finishes Mahogony Oil Base Wood Stain.If I understand you correctly, you recommended that I put a little color in the shellac. Would that be like an artist's oil color (like what you suggested in the March/April 2008 Fine Woodworking article on bringing out the best in mahogany)?Also, if after I wipe the mineral spirits on and notice a glue spot, do you have any suggestions if there is a fine line of glue between a portion of the inlay and apron (I don't anticipate that, but just in case, I would value your advice).Thanks again,
Jeff
Jeff,
Read closer. You don't use artist oil color in shellac, you would use it in an oil based product. Shellac is alcohol based. You need to use something like Transtint or something similar to tint your shellac.
One of the brushes I spoke of yesterday is a red sable filbert #16. This particular company is Princeton Art and Brush CO. It is a very comfortable brush to lay a thin coat of shellac on with for small objects such as your inlay.
If you get a glue ghost line around your veneer after staining;
First apply your sealer or first coat of finish. When dry sand and clean.
Without shaking or stirring the can of stain, dip a small stick and take some of the pigment off the bottom and lay it on a plastic lid or wax paper.
A small artist brush that comes to a point in size #1 or #2 will work best. Dip the tip of the brush into the pigment and remove most of the excess.
Now lay a nice straight line of the color onto the glue line. Presto, it's gone. If you don't like what you see wipe it off and repeat. Since the surface is already sealed you won't affect the surrounding color. Let it dry well and proceed with your finish.
Another way is to use TransTint color to do this. It's not as fool proof as what I just described. Basically you will learn to walk before you run.
Let me know how you do.
Peter
Peter,
I finally finished the project. Thanks so much for all your help. Your tips here and on the thread on "Steps for Finishing Wood 101" were all very very helpful. I have included photos of the completed Huntboard Project that I enhanced with inlay.Regards,
Jeff
Beautiful work!
Way to go Jeff!! Nice job.
Keep in touch.
Peter
I've been intrigued by the natural look of wood and hate all th shine I see on furniture. I'm putting this out and expect a lot of feed back. When you finish wood you get some kind of coating that obscures the wood and detracts from all the detail you build into a good design that incorporates highlights and shadows. Also when the piece is damaged you have to remove the finish, repair the damage and then try to match the finish. I started with a 30% 30% 30% mixture of boiled linseed oil, naptha (turps works well) and Varathane floor varnish. Varathane is an excellent hard floor varnish. I wipe this on and after a short rest period I wipe it off. No brush marks good coverage, etc. It takes about 3 coats. I wanted something with a little faster build up so now I use 50% varnish, 25% boiled linseed oil, and 25% naptha. This can't sit long before you wipe it off so I'm going to add more oil. Also I get a nice build up with only 2 coats, 3 coats is a little to much shine but I hoping the additional oil will solve both problems. But the idea is that you have something to work with that does a great job. If you need to repair it go about your normal routine then simply wipe on another coat. Now I've heard about all the fuss of lacquer and how it melts into the previous layer and is simply great, but the last sentence in any article is that it doesn't provide "enough" protection. Try the above and see for yourself.
4Runner
FWIW,
Please don't flood all questions with one response.
Everyone has their opinions and there is not one finish that fits all, especially some of the magic mixtures.
Peter,
Sort of like flooding furniture and floors with extremely diluted shellac?
-Steve
Hey Steve,
Good one, but please let's let sleeping dogs be.
I wanted to tell you a while back you had posted some pictures of birds that you took. They were outstanding! I used to live on a bay here in CT. and used to see major rafts of ducks in the very late fall. I'd always leave the boat in a little longer just to spend some time out there with them.
Where I live now we have a wide variety of birds including a resident pileated. My cat got chased out of the woods by it last year when she went to investigate the head popping out of the nest. It was a pretty funny site.
I do miss the variety of shore birds that I got to see though. One time after a storm, a friend found a dovekey on the shore. That was unusual.
If you check out my website, petergedrys.com you'll see my shop. About 200 feet behind there it's wooded with a running brook. On the other side is land conservancy. There is always good sightings back there.
Regards,
Peter
Peter,
Thanks. Here's a new one, a Canada Warbler from this spring's migration at Magee Marsh (on the shore of Lake Erie, near Toledo):
View Image
My wife takes most of the bird photos (including this one); I'm not willing to lug all of that heavy equipment around. ;-)
-Steve
Beautiful!!
Now if you're going near a marsh tell her I'd like to see a Least Bittern or a Yellow Crowned Night Heron. Or how about a Rail?
Are you shirking your pack mule duties?
PG
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