After thinking about how to fix the unstained pores I had
an idea and decided to do some testing.
For my test material, I decided to use the Alignment Guides. They are wide enough to give me a good sample
and if things don’t work out quite right they are under the table and hidden
from view behind the Outer Rail. Here I
am ready to start staining. I will pour
out some of the stain from the glass jar into the smaller plastic container. That way when, not if, I eventually knock
things over I will lose only a small amount of stain not the whole mixed lot.
Staining Setup & Materials |
First, I stained the Alignment Guide assembly and
when I examined it sure enough just like my large sample there were unstained
pores here too.
Unstained Pores |
Before I go further I want to touch on the stain itself. I have been using stain to indicate the
finished mix of dyes and alcohol but that’s not really right. A stain is an opaque pigment that for the
most part remains on the surface of the wood and in it’s pores. A dye on the other hand is a translucent
material that penetrates deep into the wood and provides color from
within. I like to use dye because it is
translucent and does not mask the character, figure or chatoyance of the grain. Also, in this case I had several colors of
concentrated dye and could easily custom mix the color I needed.
For the test, I am going to take advantage of a gel stain’s
property of packing into the wood’s pores.
Here’s the sequence I used and observations:
- On the left half I rubbed a dark walnut gel stain that has the consistency of pudding into the pores and wiped as much off it as I can. It filled the pores but also slightly darkened the entire treated half.
- I then gave the whole piece it’s first coat of lacquer, let it cure then lightly wet sanded with a 1,500-grit pad to remove any dust nibs. The left half looked quite good while the right half still had the unstained pores.
- On the right half that had just the dye mix and lacquer I rubbed the dark walnut gel stain into the pores and wiped off the rest. Because the one coat of lacquer had sealed the non-porous surface but not filled the pores the only area impacted by gel stain was the pores.
- A second coat of lacquer was sprayed on the whole piece.
The next day I gave the second coat of lacquer a light
wet sanding using a 4,000 grit pad.
Going in I thought the stain (dye), lacquer, gel stain and lacquer would
give the best results. To my surprise,
it did not. The best was the left test;
stain (dye), gel stain and lacquer. The
result is a richer slightly deeper color even better than what we had decided
on using. A silver lining to a problem.
Left, Dye/Gel Stain/Lacquer - Right, Dye/lacquer/Gel Stain/Lacquer |
With the stain mix and finish application for the body of
the piece settled (color of applique pieces are still under discussion) I could start
the finishing process for real.
The lacquer spray mix is a combination of satin lacquer,
lacquer thinner and a small amount of retarder.
I mix it in a quart plastic container then pour into the 8 ounce cup
used on the spray gun.
Lacquer Materials |
Spraying Lacquer |
Once sprayed and cured overnight the MDF is lightly
sanded with 220 grit sandpaper to knock down any roughness due to dust. I don’t want a really smooth surface but one
with a little tooth to help hold the pad in place. The oak will follow a bit different process
because I want a really, really smooth surface.
MDF Sealed with Lacquer |
I started the actual finishing by completing the stain
work on the alignment pieces then dyed and stained the oak sub-structure for
the MDF. Most of the individual
components are not very wide which does not lend them to the HVLP sprayer. Also, the weather has not cooperated much
forcing me to spray in the shop. Those
two considerations have meant a number of the pieces have been sprayed using
the air-brush. It is quite a bit slower
but gives the same quality and is more in tune with the constraints noted
above. I gave them two coats of lacquer
wet sanding between coats with a 2,100-grit pad and with an 8,000 grit pad at
the end. This completes the hidden
pieces so from now on I will be working on the visible pieces. I know if you are on your back on the floor
under the table you can see the sub-structure parts but most of the time they
will be out of sight.
The legs went fine as did three of the four Outer
Rails. When I applied the dye to the
last piece I noticed a series of vertical lines (scallops). They are caused by tiny hills and valleys on
the face. My guess is they were a result
of sympathetic vibrations when I ran that piece through the thickness
sander. Because they are so small I did
not see them when doing the final sanding and preparation for staining. Unfortunately, the only way to fix the
problem is by sanding the piece flat then re-staining. Leaving them is not a good option because
when I spray the piece with lacquer they will just get more pronounced. After sanding and re-dying it looked just
fine.
Sanding Scallops |
Here is an in progress shot with a bunch of different
pieces dyed and stained.
Dying & Gel Stain Pieces in Progress |
Next Up – More Finishing plus Applique Size Problem, Masking,
Stain Color & Installation