For years, I
have used a mixture of varnish and mineral spirits as a wiping varnish. After
many thin coatings of this mixture, the result is a beautiful, smooth finish. There
are no drips, no streaks, no runs, no bubbles and no dust that has dried in the
finish.
have used a mixture of varnish and mineral spirits as a wiping varnish. After
many thin coatings of this mixture, the result is a beautiful, smooth finish. There
are no drips, no streaks, no runs, no bubbles and no dust that has dried in the
finish.
I believe
that because a wiping varnish soaks deeply into the wood, it strengthens the
wood fibers and better preserves it than a surface coating. The finishing touch is waxing, which I apply
after the wiping varnish hardens for a week. Before then, the varnish is too soft, and
can be dulled by the solvents in the wax. The only downside to finishing with a
wiping varnish is that the process is time consuming.
that because a wiping varnish soaks deeply into the wood, it strengthens the
wood fibers and better preserves it than a surface coating. The finishing touch is waxing, which I apply
after the wiping varnish hardens for a week. Before then, the varnish is too soft, and
can be dulled by the solvents in the wax. The only downside to finishing with a
wiping varnish is that the process is time consuming.
While this
wiping varnish recipe has for me, I have used other recipes. Some popular recipes are mixtures of boiled linseed oil,
Tung oil, varnish and turpentine. These finishes are usually applied to bare
sanded wood using a lint free rag. The mixture will freely soak into the wood. Continue
to apply the wiping varnish, until no more soaks in. After waiting 15 to 30
minutes, wipe off any excess with a clean rag. Then wait for the coating to dry
before adding more coatings.
wiping varnish recipe has for me, I have used other recipes. Some popular recipes are mixtures of boiled linseed oil,
Tung oil, varnish and turpentine. These finishes are usually applied to bare
sanded wood using a lint free rag. The mixture will freely soak into the wood. Continue
to apply the wiping varnish, until no more soaks in. After waiting 15 to 30
minutes, wipe off any excess with a clean rag. Then wait for the coating to dry
before adding more coatings.
Real Milk Paint Pure Tung Oil
● 100% Pure Tung Oil without any additives and no thinners.
● Penetrates deeply into the wood fibers providing water
resistance.
resistance.
● Enhances the natural beauty of wood.
● Excellent finish for woodcarvings, wood bowls and wood
flooring.
flooring.
● Produces an elastic oil finish, which expands and contracts
with changes in the substrate.
with changes in the substrate.
 |
| The two Celtic crosses were treated with several coatings of a wiping varnish. The basic recipe that I used was modified with each application by increasing the ratio of varnish to the other components. |
Continue applications of the mixture to your wood project until the wood will no longer absorb any
of the wiping varnish. This can take as few as four applications or more than six coatings. If there are any rough spots between coatings, you can
sand the surface with 0000 steel wool.
of the wiping varnish. This can take as few as four applications or more than six coatings. If there are any rough spots between coatings, you can
sand the surface with 0000 steel wool.
Whichever
recipe you decide to try, you should always “Test, Don’t Guess”, before using
it on one of your projects. This way, you avoid one of those painful learning
experiences, which we all dread.
recipe you decide to try, you should always “Test, Don’t Guess”, before using
it on one of your projects. This way, you avoid one of those painful learning
experiences, which we all dread.
While not
fixing something that isn’t broken is pretty good advice, trying new products
and new techniques can improve your results. With this in mind, I have tried
variations of the recipe listed below:
fixing something that isn’t broken is pretty good advice, trying new products
and new techniques can improve your results. With this in mind, I have tried
variations of the recipe listed below:
Alternative
Wiping Varnish Recipe: Mix equal amounts of Tung Oil, turpentine and varnish. Woodworkers
have used many different types of varnish for this recipe. Spar varnish, which
is also called Marine varnish, is an excellent choice for this recipe,
providing a very durable finish. A safer alternative for turpentine is mineral
spirits. I prefer using pure Tung oil. Other people will substitute boiled
linseed oil for the more expensive Tung oil. Compared to Tung oil, boiled linseed oil has a more orange hue as it ages.
What I like about pure Tung oil is that it imparts a warm yellow shade to the wood. If that coloring is not your cup of tea, you can mix a little dark Tung oil with the standard Tung oil. This will darken the grain of the wood as shown in the above picture of the cross on the left.
Wiping Varnish Recipe: Mix equal amounts of Tung Oil, turpentine and varnish. Woodworkers
have used many different types of varnish for this recipe. Spar varnish, which
is also called Marine varnish, is an excellent choice for this recipe,
providing a very durable finish. A safer alternative for turpentine is mineral
spirits. I prefer using pure Tung oil. Other people will substitute boiled
linseed oil for the more expensive Tung oil. Compared to Tung oil, boiled linseed oil has a more orange hue as it ages.
What I like about pure Tung oil is that it imparts a warm yellow shade to the wood. If that coloring is not your cup of tea, you can mix a little dark Tung oil with the standard Tung oil. This will darken the grain of the wood as shown in the above picture of the cross on the left.
You can vary
the standard recipe to achieve the results that you desire. If you add a little more turpentine
to your mixture, it will flow out more readily. If you want to retain a more natural
look to the wood surface, increase the amount of oil. On later coats of you may
wish to decrease the amount of oil that you use and increase the proportion of
varnish in the mixture. A higher concentration of varnish will provide better protection to the surface of the wood. On any of the final coats, in which you increase the amount of
varnish, you may want the wiping varnish to dry more quickly before dust
settles in the finish. In this case, replace turpentine with Naphtha, which
dries faster.
the standard recipe to achieve the results that you desire. If you add a little more turpentine
to your mixture, it will flow out more readily. If you want to retain a more natural
look to the wood surface, increase the amount of oil. On later coats of you may
wish to decrease the amount of oil that you use and increase the proportion of
varnish in the mixture. A higher concentration of varnish will provide better protection to the surface of the wood. On any of the final coats, in which you increase the amount of
varnish, you may want the wiping varnish to dry more quickly before dust
settles in the finish. In this case, replace turpentine with Naphtha, which
dries faster.
 |
| After varnishing, I polished the carvings with dark oak Liberon Black Bison paste wax. |
While there
are commercial products sold as wiping varnishes, making your own is more economical
and it gives you the opportunity to better control the finishing process.
are commercial products sold as wiping varnishes, making your own is more economical
and it gives you the opportunity to better control the finishing process.
Essential
Reading for Artists
One topic that fascinates me in the field of art are the materials and techniques of painters, especially the Old Masters. So much of what an artist uses and how he uses these materials affect the durability of the painting. Failure to understand the physical properties of pigments and oils used in painting, and how one material chemically interacts with another can result in problems.
To ensure the longevity of a work of art, an artist needs to thoroughly familiarize himself with the materials, tools and techniques of his trade. What's more, because many of these materials are comprised of toxic chemicals, he or she needs to know the hazards involved and how to deal with them. Here are four books in my library that I believe are essential reading for artists.
The Artist's Handbook of Materials and Techniques
If
you are an art student or serious artist, The
Artist's Handbook of Materials and Techniques by Ralph Mayer belongs in
your bookcase. Called the “Painter’s Bible”, this reference book explains the
chemistry of commonly used art materials that you should understand. These
materials include pigments, drying oils, solvents and varnishes. The Artist’s Handbook provides
information on how to make your own paint and painting mediums, how to prepare
a canvas and how to care for your tools. In addition to oil painting, Mayer’s
book also covers tempera painting and encaustic painting. Originally published
in 1940, The Artist’s Handbook has
been revised several times. The fifth edition is now available.
you are an art student or serious artist, The
Artist's Handbook of Materials and Techniques by Ralph Mayer belongs in
your bookcase. Called the “Painter’s Bible”, this reference book explains the
chemistry of commonly used art materials that you should understand. These
materials include pigments, drying oils, solvents and varnishes. The Artist’s Handbook provides
information on how to make your own paint and painting mediums, how to prepare
a canvas and how to care for your tools. In addition to oil painting, Mayer’s
book also covers tempera painting and encaustic painting. Originally published
in 1940, The Artist’s Handbook has
been revised several times. The fifth edition is now available.
The Materials of the Artist and Their Use in Painting: With Notes on the Techniques of the Old Masters
The Materials of the Artist and Their
Use in Painting by Max Doerner, a
German artist, who painted in the impressionist style, was an authority on the
materials and techniques of the Old Masters. Originally, this book was
published in1921. It is still relevant for any artist or restorer, who wants to
learn the techniques used by the great painters of the past.
Use in Painting by Max Doerner, a
German artist, who painted in the impressionist style, was an authority on the
materials and techniques of the Old Masters. Originally, this book was
published in1921. It is still relevant for any artist or restorer, who wants to
learn the techniques used by the great painters of the past.
Painter's Handbook
First
published in 1993, The Painter’s Handbook
by Mark David Gottsegen provides artists with essential information about art
materials. The book also offers step-by-step recipes for making paints,
varnishes and gessoes. In addition, it explains how to prepare your supports
and how to preserve, store and restore paintings. Gottsegen, who chaired the
ASTM committee on artist’s materials, also covers the health hazards, which artists
routinely encounter, as well as how to safely handle materials in your shop or
studio.
Artist Beware, Updated and Revised: The Hazards in Working with All Art and Craft Materials and the Precautions Every Artist and Craftsperson Should Take
Often artists and art students are unknowingly exposed to
highly toxic chemicals or work in
poorly equipped studios. Gases, solvents, dusts and fumes can be toxic and
threaten your health. If you work with
art materials, you need to read Artist
Beware, by Michael McCann PhD. This book provides details regarding
toxicity of chemicals, flash point and common uses for these art materials.
McCann also explains what personal protective equipment an artist should wear
when working with hazardous materials.
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About Jim Hingst: After fourteen years as Business Development Manager at RTape, Jim Hingst retired. He was involved in many facets of the company’s business, including marketing, sales, product development and technical service.
Hingst began his career 42 years ago in the graphic arts field creating and producing advertising and promotional materials for a large test equipment manufacturer. Working for offset printers, large format screen printers, vinyl film manufacturers, and application tape companies, his experience included estimating, production planning, purchasing and production art, as well as sales and marketing. In his capacity as a salesman, Hingst was recognized with numerous sales achievement awards.
Drawing on his experience in production and as graphics installation subcontractor, Hingst provided the industry with practical advice, publishing more than 150 articles for publications, such as Signs Canada, SignCraft, Signs of the Times, Screen Printing, Sign and Digital Graphics and Sign Builder Illustrated. He also posted more than 400 stories on his blog (hingstssignpost.blogspot.com). In 2007 Hingst’s book, Vinyl Sign Techniques, was published. Vinyl Sign Techniques is available at sign supply distributors and at Amazon.
