[97409] in Discussion of MIT-community interests
Attn: Woodworkers - Receive-Exclusive Access to More-Than 16,000 Step-by-Step Plans.
daemon@ATHENA.MIT.EDU (Ted McGrath)
Mon Apr 24 15:35:24 2017
Date: Mon, 24 Apr 2017 17:24:26 -0400
From: "Ted McGrath" <ted_mcgrath@yourwoodworkingspecials.com>
To: <mit-talk-mtg@charon.mit.edu>
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RE: Your WoodWorking How-To Guides.=20
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April 24th, 2017.=20
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Woodworking-Notice No. 3420575816.=20
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Hello mit-talk-mtg@charon.mit.edu,
Many people want to know, what exactly is the BEST way to start a new
woodworking-project?
Now you can get exclusive-access to more than 16,000 woodworking guides
and how-to plans to make every woodworking project alot easier. Each of
these plans were designed with easy to follow, step-by-step instructions
that are easy for anyone to understand; beginner or pro!
You shouldn't start any woodworking-project without first checking-out
these guides.=20
Go here to get your woodworking-plans right now: http://www.yourwoodworkingspecials.com/gimmick-tensed/7388L6k3eeNl*edVguV_VKxw_gVsFMtKlihzguVzONW675
Sincerely,
Ted 'Woody' McGrath
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If you'd rather. not. receive further woodworkingads-please go-here:
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Favorite furniture woods are maple and cherry, both have a nice figure, are=
easy to machine, and cherry has a wonderful fruity smell when cut. Maple =
has a couple of advantages over cherry. Nicely figured maple is easier to =
find and less expensive, and since it has a similar grain pattern, properly=
stained maple is almost indistinguishable from cherry, but, both cherry an=
d maple have a reputation for being difficult to finish. Cherry and maple =
do not stain evenly. Their highly prized figure results from end grain tha=
t rises to the face of the board in irregular patterns. Most finishers att=
empt to stain cherry and maple using pigment stains, but because end grain =
soaks up pigment much more rapidly than does face grain, the result is blot=
chy, uneven color. Cherry has an additional finishing downside: even if yo=
u successfully achieve a uniform deep red color with stain, it will not las=
t. Cherry darkens with age, stained cherry may eventually become too dark.=
The only way to achieve a true deep red cherry color without any chance o=
f the wood becoming too dark is to let it darken naturally. This may take =
several years, however, and most of us are unwilling to wait that long. Yo=
ur alternatives, then, are to stain it anyway and take your chances or use =
maple stained to look like cherry. Whichever you choose, the following fin=
ishing steps should give good results.=20
Preparing the wood Preparation techniques could fill a book, so I=C3=A2=E2=
=82=AC=E2=84=A2ll just hit the high points here. Sand all surfaces evenly,=
working your way up through sanding grits from course to fine, skipping ev=
ery other grit: 60, 100, 150, 220. The idea is to use 60 grit to eliminate=
tool marks and flatten large surfaces, then use each successive grit to el=
iminate the scratches left by the previous grit. On flat surfaces back you=
r sandpaper with a sanding block. Use a shop light and sight along the woo=
d. When you have an even sheen with no scratches left from the previous gr=
it you can move on to the next grit. When sanding by hand, do not use a lo=
t of pressure. Just the weight of your hand and even strokes should do the=
job If you decide to use a power sander, I highly recommend a random-orbit=
sander because, unlike a belt or vibrating sander, it does not leave a not=
iceable scratch pattern. Again, you do not need to apply pressure. The we=
ight of the tool is sufficient.=20
Using dye stains To get around the problem of uneven pigment stain absorpti=
on, use dye stains instead. The difference is important. Pigment stains a=
re composed of tiny opaque particles of color suspended in liquid. When ap=
plied to the wood, these particles lodge in pores and scratches, and the op=
en ends of end grain where they are sucked up by capillary action, resultin=
g in a blotchy appearance. Pigment stains also highlight sanding mistakes =
and obscure, rather than enhance the figure of the wood. Dye stains, on th=
e other hand, are completely dissolved in liquid and therefore can soak dir=
ectly into the cells of the wood, coloring the entire surface evenly. Dye =
stains even out flaws in the color of the wood, hide sanding mistakes, and,=
because they are translucent, bring out the figure. There are three kinds=
of dye stains: water-based, alcohol-based, and oil-based. I use water-bas=
ed dye stains for a three reasons. First, they are easier to find and come=
in a wider variety of colors. Second, they are less prone to fading in br=
ight light. Third, the solvent is cheap: distilled water is about a dollar=
per gallon, and tap water can be used in a pinch. The only downside to wa=
ter-based dye stains is that they require an extra sanding step because the=
y tend to raise the grain of the wood. Other than that, all three types pe=
rform identically, so I=C3=A2=E2=82=AC=E2=84=A2ll confine my discussion to =
water-based dye stains.=20
Raising the grain Water soaks into the wood and swells the fibers, resultin=
g in fine "whiskers" on an otherwise perfectly sanded surface. It is neces=
sary, therefore, to deliberately raise the grain of the wood and sand off t=
he whiskers before applying water-based dyes. To do this, simply take a cl=
ean sponge or rag soaked in warm water, wet the surface of the wood, and le=
t it dry. Once the wood dries lightly sand off the raised whiskers with 32=
0 grit sandpaper, sand only enough to remove the whiskers; too much sanding=
will cut through to the un-raised grain underneath, defeating the purpose.=
Remember to use a sanding block on flat surfaces. Repeat this process a =
couple of times. By the third wetting you should feel no more raised grain=
Choosing the Color Dye stains come in a variety of colors, usually as po=
wder in one-ounce bottles, and are easy to blend. It is hard to tell from =
the color of the powder or a chart what the dye will look like on your proj=
ect, so while you=C3=A2=E2=82=AC=E2=84=A2re at the store moisten a finger a=
nd stick it in the powder and wipe it on a sample of your wood or slip of p=
aper. Find a couple of colors that look close, then a couple more at the e=
xtremes of the range you are interested in. For example, I like a deep ora=
nge-red mahogany color so I=C3=A2=E2=82=AC=E2=84=A2ll choose "dark mahogany=
" or "cherry mahogany" for starters, and then get something really yellow i=
n case the others are too red and something really red in case they are too=
yellow. Mixing the Dye There are two ways to mix dyes. You can mix them =
together in a single batch to get the color you want, or you can blend them=
by successive applications on your work. Since you=C3=A2=E2=82=AC=E2=84=
=A2re going to apply several coats of dye anyway, and since it=C3=A2=E2=82=
=AC=E2=84=A2s difficult to duplicate a mixture, I recommend blending them o=
n the work. To experiment, collect and finish-sand some left over wood fro=
m your project. If you are refinishing an existing piece, experiment on a =
concealed area. Mix about 1/8 tsp of dye per cup of water and try differen=
t combinations. The dye will look dull when it dries so wet the surface wi=
th some mineral spirits to get an idea of the finished result. When you ar=
e satisfied with the color, record the sequence of dyes you used.=20
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