Getting ready to wax some samples of oak I fumed in household ammonia.
Half the samples finished with a coat of 1 pound shellac and then 3
coats of Waterlox oringial. Same Waterlox on the other halb but
without the shallac sealer coat. I have some Briwax original I am
going to add artists oil color to to make it black. My question is how
mouch of the color do I add perchetage wise to the wax? A little dab
to just render it black or would the finish benefit from a higher
colorant ratio. I am assuming that when my finishing reference discuss
finishing with black wax they are refering to a paste wax and not some
kind of a hard wax that is rubbed into the wood grain. Thanks

On 23 Oct 2005 09:55:04 -0700, with neither quill nor qualm, "Mike in
Arkansas" quickly quoth:

Getting ready to wax some samples of oak I fumed in household ammonia.
Half the samples finished with a coat of 1 pound shellac and then 3
coats of Waterlox oringial. Same Waterlox on the other halb but
without the shallac sealer coat. I have some Briwax original I am
going to add artists oil color to to make it black. My question is how
mouch of the color do I add perchetage wise to the wax? A little dab
to just render it black or would the finish benefit from a higher
colorant ratio.

Are you going to use a double boiler to melt the wax down to mix it?
Careful, the solvents are flammable.

Try mixing a bit, letting it cool, and trying it on scrap samples.
Um, you DID make extra samples to try out different finishes, right?
g Then add more if needed. Better yet, keep the original Briwax
for light woods and buy a can of black Briwax (dark, whatever) for
dark woods. $10-15 worth of wax goes a long, long way.


I am assuming that when my finishing reference discuss
finishing with black wax they are refering to a paste wax and not some
kind of a hard wax that is rubbed into the wood grain. Thanks

Right, dark Briwax for dark woods, etc. I prefer to have my pores
open, so I'd use the dark wax and a stiff boot brush to remove it from
the pores. Others prefer to fill their pores with filler for a
smoother finish. My question to them is always "Then why'd you start
with a rough and textured wood?" because filling pores removes the
lovely highlighting that empty pores provide with almost all lighting.
YMMV.

So, what look are you aiming for, Mike?


--
Strong like ox, smart like tractor.
----------------------------------
www.diversify.com Oxen-free Website Design

I really don't understand the reasoning behind putting a colored top coat on
something that you know will rub off.
"Larry Jaques" wrote in message
...
On 23 Oct 2005 09:55:04 -0700, with neither quill nor qualm, "Mike in
Arkansas" quickly quoth:

Getting ready to wax some samples of oak I fumed in household ammonia.
Half the samples finished with a coat of 1 pound shellac and then 3
coats of Waterlox oringial. Same Waterlox on the other halb but
without the shallac sealer coat. I have some Briwax original I am
going to add artists oil color to to make it black. My question is how
mouch of the color do I add perchetage wise to the wax? A little dab
to just render it black or would the finish benefit from a higher
colorant ratio.

Are you going to use a double boiler to melt the wax down to mix it?
Careful, the solvents are flammable.

Try mixing a bit, letting it cool, and trying it on scrap samples.
Um, you DID make extra samples to try out different finishes, right?
g Then add more if needed. Better yet, keep the original Briwax
for light woods and buy a can of black Briwax (dark, whatever) for
dark woods. $10-15 worth of wax goes a long, long way.


I am assuming that when my finishing reference discuss
finishing with black wax they are refering to a paste wax and not some
kind of a hard wax that is rubbed into the wood grain. Thanks

Right, dark Briwax for dark woods, etc. I prefer to have my pores
open, so I'd use the dark wax and a stiff boot brush to remove it from
the pores. Others prefer to fill their pores with filler for a
smoother finish. My question to them is always "Then why'd you start
with a rough and textured wood?" because filling pores removes the
lovely highlighting that empty pores provide with almost all lighting.
YMMV.

So, what look are you aiming for, Mike?


--
Strong like ox, smart like tractor.
----------------------------------
www.diversify.com Oxen-free Website Design

CW wrote:
I really don't understand the reasoning behind putting a colored top coat on
something that you know will rub off.

Some of the dark wax stays in pores, corners, etc... This creates an
older, antique look.

Kind of like dirt?

"B a r r y" wrote in message
...
CW wrote:
I really don't understand the reasoning behind putting a colored top
coat on
something that you know will rub off.

Some of the dark wax stays in pores, corners, etc... This creates an
older, antique look.

CW wrote:
Kind of like dirt?

Exactly! Only faster! G

So, what look are you aiming for, Mike?

I was trying for that dark golden craftsman style finish. I'm not
using quarter sawn for testing because I didn't have any. Saw an
antique craftsman style mirror frame I have kinda reproduced in flat
sawn oak as a precursor to making a final one is QS. Wanted to
experiment a bit with scrap even though the frame is a test piece. So
far my better half hasn't been thrilled with the look. "Not golden
enough" she says and I guess I agree. It's kind of a flat brown dull
finish even when carried through to final waxing. I'm doing something
wrong, household ammonia isn't sufficient, or flat sawn oak doesn't
provide a suitable surface for fuming. In addition, one side of one of
the samples didn't darken at all, even after extended time in the fume
box. Its opposite side darkened fine. Multiple painted on applications
of tea and then liquid ammonia is gradually having an effect. The tea
provides tannic acid, something this particular piece of oak was
evidently lacking. Wether it was the growth age of the wood or the way
it was cut, I have no idea. It looked pretty much the same as the
other samples and the samples all came from one board. The board was
sanded to 120 grit before being cut into samples 8 x 2 x 1/2