About stains, waxes and oils
Warm greetings to everyone!
Since many people on my blog asked the same question, I decided to answer here for everyone at once
The question is: “Tell me in more detail about processing wood with stain-wax-oil, what’s for what and in what order?”
I'm telling you:
1. First, apply stain to clean, dry wood. The stains that I am familiar with are aqueous, alcoholic and non-aqueous (perhaps there are some others: I came across the definition “solvent-based”, maybe this is non-aqueous =))). Seine is very smelly, keep that in mind! But I like the result =)
Here is the result of using non-aqueous stain “Palisander”:
The bookcase and the table for the netbook are treated with this particular stain. We are very pleased with the result
You can apply the stain with a brush or sponge (I like the sponge better, it turns out smoother).
I never apply a thick layer to avoid smudges.
After drying, look at the result and be satisfied with it or continue applying the next layer. The next layer can be the same stain or a different shade - it depends on what result you want to get. I mix everything in the house: water and alcohol - the main thing is to achieve the desired color effect.
The stains I use may not be the best, but they are inexpensive.
Like these ones:
While searching for an image of my stains, I came across an interesting article that talks in detail about different stains and their uses. I am sharing with you a link to the article and immediately want to make a reservation: I do not follow the application tips given there, I do it as I described above. So it's up to you to decide which method you choose for yourself.
2. If you are already satisfied with the color result, you can proceed to waxing. Previously I used this:
but since the plans include restoring a favorite antique table, and a lot of wax will be needed, the toad strangled meand I bought this one, simpler (which, in fact, I used for the tea box):
This beauty is called “Floor Mastic”, the stated composition is as follows: a composition of natural waxes and oils, a flavoring additive.
“It adds shine and moisture-proof properties, penetrates deeply into the surface structure and reliably protects against premature aging. Qualitatively improves the appearance while maintaining the natural color of the coating. When applied it has a pleasant orange aroma. The mastic is easy to apply and economical in consumption. Immediately after polishing, the floors can be used."
P.S. About the orange - this is what they are slandering. I would prefer the smell of beeswax and turpentine from the Italians, but the smell “like a bee orange” is very weak, so it’s not fatal
Wax can be applied with a brush or steel fiber (Lana d'acciaio):
Mastic can also be applied with a cloth - it is softer than Italian wax...
For a long time I was going to make a mk in order to answer numerous questions about how to create the “glow” effect on the boxes.
- wooden blank
- acrylic lacquer
- acrylic paints, water stains
- skin
- rubber roller and spatula
- printout motif on a laser printer, in a mirrored display (not necessary if the picture is symmetrical)
- good mood. Well, helpers won't hurt.
I would like to dwell separately on the motive. What motif is suitable for working with this effect? Not all kinds. First of all, the motif must have a center, a focal point, a main detail or object on which the eye will be focused, willy-nilly. If it is a luminous object, then it will be generally wonderful (a lantern, a fire, the sun, a luminous rune - whatever); but this is not necessary, we will create the glow ourselves, but if the object is too large, or it is a background image or flowers-hearts-pale girls, then instead of a harmonious glow our perception will be. swear at an unnecessary bright spot and will not allow our eyes to “complete” the picture to a luminous object.
1. We put our printout in front of our eyes. We determine what color we want the picture to glow using experience and logic - these are different shades of yellow. We decide for ourselves whether we will work with paints or stains (as a rule, it depends only on the colors of the motif - green or blue stain is still more difficult to find than paint).
I decided for myself that I would create the main tones with stains. The procedure is a bit wet, so we switch to oilcloth.
Without sanding (this is important!), we paint our workpiece in the “bottom” color. If you take stains, then simply apply one layer of a light color of the desired tone, you can even dilute it. If you decide to work with paints, then take a small jar (from baby food, for example), drop the selected paint into it and dilute it heavily with water, getting a glazed, transparent color.
I chose a water stain - larch.
We dry the workpiece, you can do this with a hairdryer. We take the sandpaper and thoroughly sand our workpiece, lightening the tone and leveling out all the burrs and raised pile. We especially actively sand the space in the center of the edges and in the center of the cover of the workpiece, “pushing through” the stain or paint almost to the original color of the wood. Important! Here and further we sand only (!) in the direction of the wood grain.
2. Cover the lid with several layers of varnish with intermediate drying and sanding. Two or three layers will be enough (by the way, it is better to pour the varnish into a small jar, the stain will get the brush dirty, and if you dip a dirty brush into a jar of varnish, you understand). Cover with another layer. We implant our printout into the lid. To do this, we put our printout on a file and also coat it with varnish.
We apply it face down (ah, this favorite “face into varnish” method) and roll it with a roller. We remove the file, take a rubber spatula and drive out the excess varnish - believe me, there will be some, a roller is not enough
Let the box dry overnight.
3. Wet the paper, wait a little for it to soak and roll it up.
By the way, of course, you could prime the lid, sand it and just glue the motif on as usual. But the tone and glow will be different. I'm intentionally showing a more complicated version.
We dry our work (again, you can use a hairdryer), go over it with sandpaper according to the motif, just without enthusiasm. And varnish it.
4. While our lid is drying, we return to the rest of the space. We cover it with stain (or diluted paint) of a darker tone and dry it.
We sand the surface again, paying special attention to the center of the edges of the box. If you look closely, you can already see some darkening towards the edges, but it’s still rather weak.
Then we work according to the principle of a layer of stain (paint) - we sand with an emphasis on the center - the layer. You can add different colors that are on the motif. We don’t neglect yellow either.
It is also worth remembering that under varnish the color will be more saturated (in the photo the upper part is varnished, but the lower part is not):
When you feel there is enough color and light, coat the work with varnish.
5. On a disposable plate or any other palette convenient for you, plop the piles of paints that are present in your motif. I took burnt sienna, burnt umber, light ocher, and carbon black. Take a piece of sponge. We dip a little paint into one pile and tap the excess in the center, dip it into another and tap it in the same center. What does this give us? And what gives us is the transition of colors one into another, different halftones. It is important that there is not a lot of paint on the sponge and that the sponge is semi-dry. Using tamponing movements, we add various tones to our motif, thus making stretching and underdrawings. Don’t be afraid to mix tones; you can always correct the excess because the motif is varnished. I repeat - it is important that the sponge with paint is semi-dry, and there is only enough paint for a few “specks”.
6. When the resulting painting suits us, be sure to go over the edges in a dark tone
And using exactly the same tone, using a semi-dry sponge, we go over the edges of the box, shading the edges a few centimeters from the edge. The darker, more saturated and opaque color should remain closer to the edges of the edges, gradually turning into a lighter and more transparent color towards the center (the places that we sanded heavily)
The box was designed for quite specific jewelry for my daughter, who is into anime. That is why the box is not typically pink and floral, without unnecessary sweet curls and in black and white. Dianuska liked it.
This is the blank that fell into my tenacious hands.
We are preparing it for a new life; to do this, we remove the fittings, erase the pencil inscriptions, and sand it.
Cover the entire surface with wood stain. I have a black water stain, the so-called Beitz black. Working with stain is easy and simple; it applies well, absorbs well and gives an even color. Dry. If necessary, apply another layer.
IMPORTANT!
Before any further work, the pickled, frozen surface must be covered with a protective layer of varnish. This must be done because The stain retains the ability to migrate and, when painted, appears on the surface in spots. I have parquet Poli-P. For convenience, I pour the varnish into a small jar with a screw-on lid (honey and baby food jars are suitable).
Take the image you like. I took a photo of a Sphynx cat. The cat's name is Chaos, he belongs to the author of the photo, a wonderful photographer and a super beautiful girl Alina;)
We adjust it to the size of the box lid and create a background. I simply “cut out” the silhouette with the shadow and applied it to a white-black gradient.
Print the prepared image.
Cut to size.
Now comes the fun part.The thing is, I don't just have printer paper. I have "Clean" Freedecor sheets for decoration of any smooth dark surfaces” (I took paper for dark surfaces, because its white background is not transparent and the image will not be lost on the dark cover). It is a white film, which is fixed on paper (thickness 15-20 microns). This is a very, very convenient thing that allows you to transfer an image to any surface without additional glue. The image prints perfectly (!only on a laser printer!) and is easily transferred using the principle of transfer stickers. To do this, immerse the picture for 20 seconds in a bath of water to activate the adhesive layer, wet the lid and...
just move the picture onto the lid of the box. Use a napkin to remove air bubbles.
The film with the picture is very thin and fits tightly to the base like a second skin.
We cover everything with a protective layer of varnish.
Craquelure Shellac+Gum Arabic .
This pair produces very beautiful cracks. To master this craquelure I usedadvice from a decoupage artist Lyudmila (nextgem) from Tomsk.
Sharing:
The size of the cracks is controlled by the number of layers of shellac. We cover the surface with two or three layers of this alcohol varnish (Lacca decerata per decoupage), with intermediate drying for 15-20 minutes (the layers must dry). The more layers, the larger the cracks. Between applying layers, the brush must be kept in jars of shellac, as the varnish dries very quickly. When dipping your brush into varnish or holding it in a jar, try not to get any varnish on the top of the brush. The varnish can dissolve the glue that glues the hairs to the brush and the brush will fall off. Immediately after finishing work, the brush should be placed in a jar of hot water and washing powder and rinsed thoroughly.
To secure the brush in a jar of varnish, I used a napkin, which I clamped with a medical forceps.
We apply gum arabic (Gomma arabica per decoupage) when the last layer of shellac is almost dry, but still sticks a little (usually after 10-15 minutes). We apply it with any brush, a fairly thick layer, it’s like jelly. Having covered the entire surface with gum arabic, we begin to massage it over the entire surface with our fingers in a circular motion. We massage until we feel that the varnish begins to stick to our hands, usually this happens after 3-5 minutes. Try to massage the entire surface evenly. Wash your brush with just warm water.
Leave until cracks form. Neither shellac nor gum arabic should be dried with a hairdryer.
Long and thin cracks appear.
We rub them with oil paint or antique paste, as in my case. Remove excess paint with a dry cloth. Do not touch gum arabic with a damp cloth or wet hands; you will immediately ruin everything.
After grouting, wash off the gum arabic with a stream of lukewarm water. It washes off perfectly, just use your hand a little, without pressing hard. The cracks immediately become brighter, the work becomes cleaner. We blot it, let it dry, and then cover it with any varnish.
Using a stencil we apply a not very bright design to the sides. Silver in the middle fading to black at the edges. We varnish, sand, varnish, sand, varnish (the last layer was applied with glassy varnish).
We admire the result:
more works by Svetlana.
In this lesson you will find an idea for decorating a wooden box using the decoupage technique. A bright and unusual box is always useful for storing jewelry and small items.
Irina Smirnova (irin69)
Materials:
- wooden blank;
- water stain;
- acrylic paints;
- synthetic brushes;
- laser printing;
- decoupage glue (PVA);
- sandpaper of different hardness;
- lightened shellac varnish.
So, first we need to prepare a decorative box. It is better to sand almost every workpiece, but in this case I properly processed all the corners and rounded them. Of course, this is not necessary.
We cover the workpiece with stain, do not touch the places for decoupage. In my case, two layers of stain with intermediate drying. You can add a drop of black acrylic paint to the stain; I needed this in order to remove the red tint when drying.
We prime the areas for decoupage with white acrylic paint in two layers. Since the rest of the surface is already quite dark, we will use a wide synthetic brush for a more accurate application. We move from the edge to the center, moving in the opposite direction can stain the stained sides.
In this way we prime all parts for decoupage. Waiting for it to dry completely. Lightly sand.
Let's start decoupage. I will use a thin laser print on 65 g paper. and the “File” method, which is described in a huge number of master classes all over the Internet, just like in my previous one :)
Let's start with the inside of the lid. We measure the exact dimensions and transfer them to the printout, reducing them by a millimeter, since almost any paper increases in size when wet. We bend it to size so that the fold remains on the colorful side. Carefully tear it off.
Using the “File” method, we attach the picture to a surface coated with glue.
In the photo below you can see how the stain appeared through the acrylic; this happened after applying PVA. If the first layer had been acrylic primer (I ran out of it, alas), the same thing would have happened, albeit on a much smaller scale. But in my case, with a dark motive and a rather dark overall concept, this is not a hindrance.
While the print is on the file, we move it around, positioning it in the best possible way. Then press it properly with a rubber spatula or card from the center to the edges. Do not forget that the printout may also move at this time, so we check that the picture does not move.
After removing the file, you need to press the edges along the perimeter of the picture, to do this we will use a damp brush. Carefully smooth out the perimeter of the printout, driving out any remaining glue.
Also, using the “File” method, we paste over the outer part of the lid.
Another inconvenient part of the box for decoupage is the place under the hinges. We proceed in the same way as on the inside, but we leave the torn edge only on top.
Using a file, we transfer the wet printout to the box, tuck the paper under the hinges, helping ourselves with our fingers. We level it, press it, sand the edge.
The transition between the paper and the surface of the box is insignificant, and with further decoration it will disappear completely.
When sanding off excess paper from surfaces with a curve, it is better not to wait for it to dry, but to move along the wet paper from the center to the edges, thus relieving the tension of the inevitably drying printout.
After all sides have dried from glue and moisture, you need to completely sand all the edges of the glued surfaces to remove lint and glue residue.
It's time to protect our work. We cover the entire box with shellac varnish (I love it).
I often use shellac, and it is convenient to store the brush for it in a loose jar with a small amount of varnish at the bottom. The synthetic brush is cut to the size of the jar, does not dry out and is stored for a long time.
It's time to get dirty. As I already said, the work is planned to be dark, for this we add light ocher and black acrylic paint to a small amount of burnt umber, achieving the desired shade. Using a makeup sponge, rub the paint onto the paper, and use an almost dry sponge to go along the edges of all decoupage sides. We achieve the desired intensity with each new layer. We move from top to bottom, from the center to the edge, at an angle of no more than 40 degrees.
The space under the hinges of the box cannot be reached with a sponge, so we will use a brush with a beveled edge. To make the paint transparent, we use a drying retardant for acrylic paints; it is viscous and is perfect for this. Dip the long edge of the brush into dark paint, the short edge into retarder and rub the path on the paper. With such movements, the paint mixes with the retarder and moves from dark to light.
If we are happy with our paint stretch, we move on to the box itself. Here, just like with a sponge, we achieve the desired shade with each new layer, but we wait a little longer for drying due to the retarder.
We do the same on the inside, around the perimeter of the picture. It’s not visible in the photo, but I didn’t manage to “squint” it, and in the upper right corner the picture is glued just below + a pebble of factory glue in the corner, also not favorable :) But all these errors will be hidden by our dark haze.
Now you should wash it a little and highlight all the protruding corners using a damp cloth. Wrap a soft cloth around your finger, lightly moisten it in water and lightly go over the corners subject to abrasion. It is worth noting that evenness along the line is completely inappropriate here. We adjust the pressure only with our imagination, in some places we don’t touch it at all, and in others we scrub it white. And don’t forget, the work is protected with varnish - we are not afraid of spoiling it, and if we have erased something unnecessary, it can always be restored.
Let's start spraying - it is planned in two colors - white and gold.
White is abundant, in the form of dust, so we do not dilute the paint with water. In my case, the paint has the consistency of quite thick sour cream. We cover the places that we don’t want to get dirty with “dust”.
Using sprinkling movements, adjusting the pressure with your thumb, we will go over the entire area of the box, protecting unwanted surfaces.
Gold spray, I would like to see it a little larger than the “dust”, so let’s dilute the paint slightly with water, just a little bit. And, just like with the white paint, let’s go over all the surfaces of the box, this time without covering anything.
Let's add some gold. Using a semi-dry sponge with gold paint, highlight the protruding relief on the stained part of the lid. 
Let's start the final varnishing. It is important to know that shellac varnish, even lightened, gives a good yellow tint, and white work with it is unlikely to turn out “white”. But for dark works of a rich shade it is great. Shellac “lifts” dark tones, giving them depth.
When using this varnish, you need to remember that it dries almost instantly! (since it is alcohol-based), so we don’t have many application options, unlike water-based varnishes. We applied a fairly generous layer of varnish, placed it on a flat surface (without tilting), and waited for it to dry. When applying a thin layer, brush marks will remain; If you continue to twist the work in your hands after varnishing, smudges will remain. The first layer of varnish dries in about 20 minutes, the second and subsequent ones take 30 minutes or more.
I hope I didn’t intimidate you too much, the varnish is wonderful and no more capricious than any other water-based one, but you need to find an approach to everything.
After all layers of varnish have completely dried (I got five layers), you can add metal fittings and accessories. We attach the legs using Moment Crystal glue (see instructions) and self-tapping screws.
The box turned out to be bright, rich, but at the same time honey-warm, with a slight shimmer thanks to the gold spray.
Master class from Anna Grigorieva. In this master class I will show aging with stain, the use of one-step crackle, two-step crackle, I will describe in detail working with wax, polish (filling cracks) and working with decoupage card.
We take hardboard, previously cut to the size of the frame, and use a pencil and ruler to mark it under the passe-partout.
We cover the edges along the drawn lines with tape, leaving the space for the main picture uncovered.
background, I decided to make it ivory color, mix the paint in white paint, add a drop of “natural sienna”, and carefully stir.
apply background paint
While the background is drying, we cut out the fragment we need from the decoupage card. In my case it is an iris flower. Since the decoupage card is quitedense, the fragments must be cut out very carefully and carefully.
soak our flower in water
Five minutes is enough for him to swim. Remove and blot with a towel to remove excess moisture.
coat the flower with diluted PVA glue
glue it and drive out excess glue and air using a wallpaper roller (You can replace it, for example, with a roll of tape)
Remove excess glue with a damp cloth or napkin.
We take a two-step crackle, I have a Maymeri crackle
take the first step
Wait for it to dry to touch (when you touch the varnish, your finger sticks, but the varnish does not remain on it), this is about 10-15 minutes, in depending on the layer thickness. And we apply the second step
To speed up the cracking, I use a hairdryer.
BUT!! Not turn on the hairdryer for hot air, "Maymery" is a capricious crackle. And from very
hot air, if the second layer is not quite thin, it can wrinkle...so it is better to dry in natural conditions, or if necessary faster, then cool or slightly warm air.
In order to work with polish, you will also need a soft cloth, and some kind of container with vegetable oil in which we will soak a rag. For me, this is a small gouache lid.
Take wax on your finger and rub it over the surface, making sure that the cracks are filled
Because here we don’t need very obvious cracks, we have, like, cracked paint :)) dip a cloth in oil and use circular movements, without pressure, stretch the wax over the surface.
And wipe it with a dry, clean, but also soft cloth.
Here's what I got..
Bye our picture is drying out after water treatments :)), we will work on the frame.
My husband helped me here, he is an exclusive painter, works on aging wood :)) Then I’ll definitely ask him to do a master class on aging of solid wood with patinas.
Because patinas are at our fingertips it didn’t turn out, as I think you did too :)), we decided to use
ordinary wood stain. I have it in solvent, I took it Red color
Cover the frame with stain
Now we take the sandpaper and sand the protruding surfaces, forming abrasions on them of varying degrees, it’s up to your taste..:))
This is how the frame turned out
This is what she started to look like
Now we take the two-step crackle again and apply the first, and then the second steps to the frame
We wait for cracks to appear and show them with using gold wax. The procedure for working with wax is the same as for blacking. Same oil, same rag :))
Apply wax
Stretch with a cloth with oil
Wipe with a clean dry cloth
we get a completely antique frame
Now let's go back to our picture :)) It is already dry.
Carefully remove the tape framing the background
And now, just as carefully, we glue the resulting picture, we will make a passe-partout.
Take gold acrylic paint and apply it to the surface to The coating was thick, I covered it with two layers of paint. First layer turned out translucent
Now take the one-step crackle and apply it with a sponge.
The thicker the crackle layer, the larger the cracks will be. I want to get uneven (in direction) and small cracks. That's why I do a thin layer and apply it with a sponge, not a brush.
Mix the paint, I made a dark burgundy color, I used these paints for mixing
We are waiting for the crackle to dry to the touch, since my layer was thin, the wait was about 10 minutes.
AND We apply paint on the crackle with a sponge, I am not afraid to reapply paint, making the layer I need, I have atrocious :)) Hobbyline crackle is tearing All...:))
This is how the craquelure turned out
We take a stationery knife, carefully, using a ruler, cut paint along the line of the adhesive tape, so that when removing the adhesive tape, it does not pull along with it paint.
And remove the tape
Along the edge of the background, so that the connection with the passe-partout looks very beautiful, we make dots with a golden outline
And below, with the same outline, we write in Latin the name of the flower
We coat the panel and frame with varnish. I covered it with water-based acrylic varnish, matte, since our product is aged, and gloss, it seems to me, would be inappropriate here :))
Using nails, we connect everything into one inseparable whole and hang it on the wall.
We admire it!!!
Taken from art-handmade.livejournal.com/182519.html
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