It’s been a while so I thought I’d take a minute to catch up on the doings at donsbarn.com/shop, the product page of the undertaking (all of this — blog, writings, and store — are an amusement/ hobby).
I have enacted a slight increase on some of the pricing to reflect my increased costs for both the polissoirs but mostly for postage. Those changes are already now in place or will be very shortly. If these modest increases make my products un-sellable, that information feedback loop will be instructive to me to discontinue the enterprise. I hope that is not the case but the future will tell.
The product line itself will remain unchanged for the moment until I can get some new things finished (see below). NB: for those of you who care about and base your purchases on such things, my products are provided by hetero-normative cis-gendered folks of European ancestry and hillbilly inclinations; we use brown polyester or tan linen bindings on the polissoirs based on my original work with the Roubo translation project (I do not deal in the books themselves, you can get them directly from Lost Art Press), non-recycled paper and standard printer ink for the labels. I am resolutely idiosyncratic/redneckian in every aspect of my life, and if that disturbs you, well, I cannot fix that issue.
The beeswax is commercially obtained as raw wax (I’ve been told the slang term of art for what I buy is “slum gum”) which is then hand process purified. All the bees involved in the production are now dead; the bodies for a great many of them are part of the contaminant that must be removed. The shellac wax is obtained directly from a purifier in India. Mrs. Barn and I (42 years this summer!) do 100% of the wax product purifying, formulating and packaging. I have received several requests to create some paste waxes of differing formulations and I am doing some explorations of that.
I think I have solved the problem I was having with Mel’s Wax, the archival furniture care polish we invented at the Smithsonian (Mel was my friend and co-worker who is the patent holder), and that may be available for purchase in the immediate future. Stay tuned on that one. I still won’t ship it to California. At one time I thought it would be the cornerstone for my post-retirement activities, but it never caught on.
Until now the videos have been purchased wholesale from the folks who made them at Popular Woodworking, but they no longer produce physical DVDs. They are strictly a streaming platform from whom you can obtain the video directly. However, with their permission we will begin the production of the physical DVDs for sale and mailing. That endeavor is imminent, I just have to forward a couple of graphics files to Webmeister Tim who will be doing the actual DVD burning and packaging. Good thing on that as at the moment I am out of the Wood Finishing video.
Another video undertaking is to finally wrap up the editing of the “Make A Gragg Chair” video (I now know why there is an Academy Award for movie editing), and to finally get some videos up on a Youtube page. I have several, from presentations I have made over the years, and hope to begin shooting some less formal shop videos once I get a handle on the whole process with the help of videographer Chris, who is so busy I may have to execute the filming and production process without him. I am also working on a set of full-scale drawings of the chair for sale on the site.
If you come to Handworks please stop by to visit. The booth will have lots of stuff.
Last Saturday we were in Columbia, Maryland, first for my presentation to the Howard County Woodworker’s Guild, where a rollicking good time was had by all. I’ve spoken there twice before, most recently on the sober, memorable day of the second Space Shuttle disaster in 2003(?). There was no memorable public disaster last Saturday, other than the ongoing collapse of Western Civilization.
I had a such a terrific time! I sometimes forget how much I enjoy teaching traditional wood finishing. The large-ish audience was very engaged and I had some difficulty getting things wrapped up and loaded afterwards as person after person came to ask questions as I was packing up.
For this 75-minute demo I selected the highlights from my 3-day workshop Historic Wood Finishing. They might invite me back to teach that event, and I am pretty sure Joshua Farnsworth will ask me to teach it at his school near Charlottesville this summer. Check their respective web sites to catch any updates for that.
After this we met with long-time dear friends K and N to tour the moss art studio where she works, and consuming a delightful meal with them. We bought several of the moss art works as we were both enamored with them.
(I know, I am really lousy at taking pictures with my phone.)
On Saturday morning I will be making a presentation to the Howard Co. (MD) woodworker’s club on the topic of shellac finishing. Somehow I’ve got to cram enough content from a three-day workshop into 75-minutes to make true believers out of them.
The only way I can think to do this is to “Julia Child” it, so for the past couple of weeks I’ve been spending a few minutes here and there creating in-step sample boards, allowing me to jump into each step for a couple minutes and start with raw plywood and end up with some highly polished surfaces.
I’m also taking the tack of using only (well, at least mostly) locally available supplies, including Bulls-Eye shellac, fine artist’s brushes, good rags from the thrift store, Woodcraft or a good hardware store, etc.
My compewder is working after a manner. But I am definitely in the market for a new one.
I’ve spent much of the past few weeks readying for tomorrow’s presentation at the SAPFM Mid-Year Annual Meeting in Fredericksburg VA. I’m now packing up everything and will hit the road shortly.
It’s all been about making sample boards based on the likely finishing resources available to colonial craftsmen, which by definition means it has been non-stop fun. The variety of finishes possible with a small menu of materials is astounding. Colophony, beeswax (shellac (of course), turpentine, whisky, naphtha, linseed oil, walnut oil, are all it takes for a party to break out.
How could anyone not love finishing?
One added benefit of the exercise is that I am getting re-enthused to knock out the book. It has been hanging over my head for far too long!
One of my initial design/aesthetic choices for the standing tool cabinet was to make the prominent detailing to be black, along with the entire interior. In the former case it was to set off the comparative blandness of the oak veneer, about which there will be exhaustive posting in coming weeks, and in the latter it would serve to set off the tools themselves. As to the ebonized stringing in between the parquetry I am not yet fully convinced — I may instead go with rosewood which will serve the primary purpose equally well, although it will not tie-in with the interior well without further design– but ebonized interior is already a fait accompli.
The ebonized stringing for the proof-of-concept parquetry exercise representing the outer skin began with a piece or two from the pile of 1/4″ tulip poplar I had on hand, itself a raw material for yet another proof-of-concept for some fauxrushi I am prototyping. Using water soluble shellac as my coloring medium, a/k/a India Ink, is a method I use frequently.
The big box store pieces of tulip poplar fit a flower pot tray perfectly, so I used the tray as the immersion bath for the board. After soaking it all night the surface was really black.
Even then when ripping the bards on the bandsaw it was apparent that the interiors were not well dyed, so I repeated the tray and India ink step again with the strips. The result was a pile of 1/4″ wide ebonized stringing strips. That might sound a tad wide to you but remember, the front presentation of the cabinet as 4-feet-by-3-feet.
As to the interior, I noted that the soaking of the plywood with India ink yielded a very desirable surface, black-ish but still retaining the character of wood, a result not really possible with something like gel stain or il paint.
For the home stretch of the jam-packed three-day workshop the final set of exercises involved the giant panel. It had already served its first purpose, getting the students comfortable with laying down an exquisite brushed shellac surface over a large area. Since the panels were roughly half the size of a dining table, I’m thinking any hurdles of intimidation have been overcome.
At this point the panel was subdivided into four quadrants, each of them to be treated in a unique manner. The first quarter was easy — just leave it alone as an example of laying down an excellent base of three-inning shellac.
A second quarter was spirit varnish pad polished to a high sheen, demonstrating the option of creating a not-grain-filled padded surface.
The third quarter was hand polished with abrasive powders, first 4F pumice then rottenstone in mineral oil, using a polishing pad identical to the spirit varnishing pad. This was followed by a light application of paste wax and buffed when the wax was firm.
The final quarter was burnished with Liberon 0000 steel wool saturated with paste wax, and as with the rottenstone polishing, rubbed until you just get tired. When the paste wax was firm ex poste it was buffed with flannel to a brilliant glow.
As always there is at least one somebody who gets seduced by my library.
When we wrapped up the event it was clear that they had all mastered the techniques wonderfully, and departed with confidence and a set of sample boards to guide and inspire them for decades to come.
If scheduling a workshop identical to the one these fellows completed, drop me a note. I will no longer “schedule” any workshops but only host them on request.
In the finishing trade we often quip that our job is to make wood, “Brown and shiney.” Historically one of the main methods employed for the “brown” part was asphaltum, or tar. I knew of using tar as a toning glaze in gilding, where the tar would be diluted with white spirits and used to accentuate the gilded surfaces. I had not used it for wood until about fifteen years ago, responding to the evangelism of Alan Noel, a/k/a “The Czar of Tar,” and famed Atlanta based finisher and restorer and long time friend
For the workshop I’d asked Knoxville Dave to provide instruction on both pad polishing and asphaltum glazing, since he does so much more of that than I do. Yes indeed, that is a can of fiberless parging asphalt that he is mixing and diluting to glaze consistency.
We both using glazing as our “go to” technique for coloring, since it is so much more controllable than any penetrating colorant, and can be controlled to perfection. Sometimes staining works perfectly, but is is “just off a little bit” enough to take that technique off the table for me.
The exercise that really showcases the asphalt glazing technique was toning the turnings. They were first shellacked then burnished, leaving a magnificent foundation on to which you lay the color. The dilute asphalt was spread on the surface, then manipulated with cloth pads and fine bristle brushes to provided subtle shading to the presentation surface.
One of the beauties of asphaltum is that it performs almost like a dye, yet can be manipulated to provide both understated and exuberant change.
Dave also demonstrated using the glaze on a flat panel to great effect, mimicking the “ammonia fuming” so prized in Craftsman furniture finishes.
With that, the students were turned loose on the workpieces.
One of the fellows did some asphalt glazing to his new carved Bible box to great effect.
After the asphalt dried the surfaces were sealed with another coat of the shellac varnish.
The only thing left for the workshop was final detailing for the mega panel. Stay tuned.
One area of great frustration, fear and failure for many woodworkers is the challenge of applying a hand-finish to voluptuous surfaces, including carved and turned objects. While I could not provide a syllabus with examples of every possible option in this exercise I was able to introduce the principles, practices and tools requisite for the task. The key to success in varnishing the curvey parts is to use the correct tool, in this case an oval wash or Filbert Mop brush for watercolor paintings.
There are many excellent brands of watercolor brushes for artists that work brilliantly for wood finishing, but I have sorta settled on Simmons brushes in part because they were widely available at Michael’s. Even their cheapest brush, the “Simply Simmons” line, can provide an exquisite brushed surface. I have a few of the middle-quality brushes, the Simmons Sienna line, and they are even better. Of the premier line, the Simmons Sapphire, I have about a half dozen, and they are sublime, a blend of nylon fibers and sable bristles.
Regardless of which one you choose, and the price range is around $10-15 for the Simply Simmons to $75-100 for the Sapphire, you will have excellent results on undulating surfaces because the Oval Wash/Filbert Mop configuration does not have the square corner typical for most brushes. Those corners are the source of nothing but headaches on the carved or turned surface as it is the corners that “squeegee” off excess varnish, leading to the runs, drips, and errors that are the curse from finishing with the wrong tool.
In this workshop I had a pile of turned spindles and frame-and-panel cabinet doors to provide the battleground for the exercises. As almost always the starting point is to burnish the entire surface with a polissoir, and I have designed a “Carver’s Model” polissoir with 3/4″ bristles for just this instance.
One of the real delights for the workshop was that one of the students had just made a carved Bible box the week before, and brought it along for the class.
The transformation of the raw carved surface by the application of a few minutes’ worth of burnishing was truly astounding.
Then it was time to get to brushing the shellac varnish, and the draping character of the oval brushes – almost literally clinging to the irregular surface – was life-changing to the students as they were able to lay down multiple flawless applications of varnish.
Suddenly, what had been an aspect of wood finishing imparting fear and loathing became something to anticipate with celebration.
The third inning for the big board exercise was perhaps the simplest and certainly is receiving the sparsest treatment on the blog.
The preparation for the third application set was to scrape the entire surface briefly with disposable razor blades. Scraping finishes is a long standing tradition going back probably three centuries, but rather than go through the practice of preparing and using burr-edge scrapers it was just easier to use razor blades for such a limited time.
Following the scraping to the point where the surface was uniformly matte, the final application set was accomplished with another 4-6 complete coats of the ~2-pound shellac varnish.
The board was then set aside for the rest of the second day, to be used for the rub-out exercises on the afternoon of the final day.
In the realm of wood finishing there is probably no technique more revered than that of the mirror-like French Polish. The catechism, liturgy and mysticism of this top-of-the-food-chain practice form the transcendent popular doctrine of the art form. In roughly 100% of the finishing workshops I’ve taught over the past four decades my exhortations on the strategy and structure of finishing success are politely entertained, but the student response tells me that what they really want to know is “how to French Polish.”
Such was once again the case in the recent workshop. Inasmuch as “French Polishing” is not a direct manifestation of The Divine I am not particularly seduced by this mindset. Pad polished spirit varnish surfaces are indeed spectacular and lovely in the right setting, but I see the world of wood finishes as being so much larger and richer than that. Nevertheless a spirit varnish pad polish is one important component of the art, a practice I undertake on occasion and with pretty solid competence. Given that my pal Knoxville Dave does more of it these days than I do, I asked him to come to the barn for the weekend and lead the students through this series of exercises.
Spirit varnish pad polishing is unusually dependent on the “feel” feedback loop running through the brain, down the arm, into the hand holding the pad, the nature of the interaction of the varnish laden pad with the surface being polished, and the resultant information signal being sent back up the hand and arm to the brain. With practice this OODA loop becomes habituated like almost every other aspect of creativity, but at the beginning it is critical to decode the process. Dave is really excellent at that decoding tutorial.
This workpiece is purposely bland so that the visual information will be derived solely from the varnish being laid down. Dave charged his pad and began sweeping his pad across the surface in a landing-and-takeoff motion, developing both the motion and rhythm for the equation of pad + varnish charge + temp + humidity + character of the workpiece, feeding into the OODA loop instructing the process.
In short order the sheen began to build such that the evidence was clear of the proceedings. After a few minutes of the pad polishing there was enough build-up that Dave moved on to a more visually appealing workpiece.
The mahogany veneered panel was just the thing to emphasize the possibilities of this most simple finishing technique. Given the wax filled grain of the surface the build-up went very fast; the time codes on the images indicate a total work time two minutes between the previous picture and the following picture.
With this encouraging demo completed the students began working on their own workpeices. They took it it like a fish to water.
One of the issues we struggled with for the weekend was the cool, damp weather. As the spirit varnish was applied the solvent evaporation brought the surface temperature of the workpiece down to the dew point, and we wrestled with cloudy films. Once they began to become manifest it was time to set the workpiece aside and after an hour or so the film clarified.
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