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San Diego Woodturners Page 10 March 2011 February Demo - Joe Fleming - Coloring Wood “Coloring Wood Is Not Weird” Notes on Demonstration by Joe Fleming Work Safely: when using colors, always protect yourself, especially your eyes and hands. Turning a beautiful wood vessel provides great satisfaction, but the ability to embellish the artwork with color allows the artist to create unique and wonderful art pieces. During his presentation, Joe demonstrated a number of techniques to color wood, using paint, stain, dye, and ink, including bleaching and lacquer finishing. He talked about the tools necessary, coloring media, wood considerations, surface preparation, technical issues, and top coats. Joe also demonstrated the creation of a glossy, glassy lacquer finish. Here are notes on the presentation highlights: The handout is available on the San Diego Woodturners website, under Techniques & Tips, and is titled Coloring Wood With Dyes. While you are there, Joe has at least six other article of interest: • Rules for Creating Good Forms • Tips on turning Small Vessels • Coloring Wood With Dyes • Sharpening Your Woodturning Tools • Eccentric Circles • Turning a Calabash Bowl In 1999, Joe joined the San Diego Woodturners and we quickly became aware of his woodworking skills acquired over a lifetime of wood working with his dad in Iowa. The special interest in woodturning was quite by accident. Joe volunteered for a Church Committee that would build, you guessed it, a new Church. Jim Leary, then a member of the San Diego Woodturners, was also on the committee and the rest is woodturning history. Joe learned additional woodworking skills from classes, trying to attend one per year dealing with artistic development. He also learned from some of the best in coloring: • John Jordon – ink soak • Michael Hosaluk – acrylic paint • Jimmy Clewes – all around woodturning • Bin Pho – air brushing with transparent paints • Don Deery – coloring wood • and our own Ken Haines – pyrography and colors As the title states: coloring wood is not weird. Colors can even out the wood grain and cover up the outer, lighter sapwood. Using Pyrography (woodburning) can help control the colors from bleeding into unwanted areas. Additionally, bleaching removes the color from wood, leaving it shades of white. Colors are available in different mediums: • Dye – pure color; will not hide grain • Paint – contains the most solids to cover up wood • Stain – similar to paint, but with less solids Some of the materials mentioned in the presentation are listed below: • Bleach – two part from Home Depot • Prismacolor colored pencils and markers available online • Liquidtex Professional Grade Acrylic heavy bodied acrylic paints – Michael’s • Liquidtex Basics Value Series Acrylic lower bodied paints – Michael’s • Golden acrylic paints; transparent and blendable; used by Bin Pho • Basic brand acrylics from Michael’s • Grex Private Stock Color System – designed for wood; grexusa.com • Master Lacquer at Rockler’s – heavy bodied and requires only a few layers. (Continued on page 11)
San Diego Woodturners Page 11 March 2011 (Joe Fleming - continued from page 10) • Deft Lacquer at Home Depot can require 30 coats • Frisket Masking Paper, Spray, or Liquid – matte finish; online Reference books mentioned are: • The Wood Sanding Book – Sandor Nagyszalanczy • Understanding Wood Finishing – Bob Flexner • Decorating Turned Wood – Liz & Michael O’Donnell • Color Mixing Bible – Ian Sidaway • Fine Woodworking #169: Spraying Basics • How to Mix and Use Color – Tony Paul • Blick Art Materials – dickblick.com • Tri-City Paints, San Diego: spray painting supplies Joe’s highlighted coloring technique is the Don Deery high gloss method for all woods except burls, which have too many grain imperfections for a high gloss finish: 1. Sanding: stop at 180 or 220 grit; higher grits will fill wood pores and prevent color penetration; if desired, use wood filler to fill pores 2. Spritz the surface to see grain pattern and imperfections 3. Bleach if desired; use disposable brushes; the wood color will lighten only after the bleach dries; repeat bleaching if desired; Joe’s recommendation is as light as possible and at least three bleachings 4. Lacquer seal coat the surface lightly, leaving deep pores open for color 5. Grain-filling with Color (optional): rub in colorant; when dry, lightly sand to lacquer layer, leaving color in deeper pores; make sure that the fill effect is even over the entire surface of the vessel 6. Top Coats: top coat color with two coats of sanding sealer; minimum of five coats of spray lacquer, sanding after all lacquer layers are applied to remove shiny dimples, using up to 400 or 600 grit 7. Buffing: use the four step Meguiar process, meguiarsdirect.com The lacquer and color can be spray painted if desired for better control than a piece of cloth. Spraying also allows blending and banding of colors. Equipment choices: • Iwata Air Brush equipment: iwata-medea. com • HVLP – High Volume Low Pressure systems • Air compressors generate water, so use an in-line water separator After all the hard work is finished, preserve the colors by keeping the artwork out of sunlight. Exposure to sunlight will eventually fade the colors, even if they are top coated. • Metal acid dyes are the most durable, but have limited color selections • Water based colors have the next highest resistant to fading and are the recommended choice • Alcohol based colors are not as color fast as water based Practice on scrap pieces of the same type of wood first. Note the differences between sanding grits, bleaching, colors – blue turns teal, red turns orange. Popular wood stays green even after bleaching. Walnut bleaches well; using red on bleached Walnut highlights the red color; Maple also works well. If you have any questions, Joe Fleming is available as a “coloring” mentor.
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March - San Diego Woodturners

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