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Linden Publishing - Marci Crestani , Brian Miller

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139 pages

English

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Learn How to Use Dyes and Chemicals Like a Pro

If you’re a woodworker looking to take your skills–and your next project–to a higher level of craftsmanship, you might want to consider coloring your wood with chemicals and dyes instead of stains. Unlike stains that can trap light and obscure grain patterns, chemicals and dyes, when handled properly, are one of the best methods for enhancing a wood’s color or accentuating the grain pattern. A classic technique that’s been practiced for centuries, coloring wood is a sure way to infuse a “wow” into your woodworking efforts.

With expert guidance by Brian Miller, a professor of Wood Technology who teaches an actual course on coloring wood, The Art of Coloring Wood removes any and all intimidation of working with chemicals and dyes and is the perfect entry point for anyone looking to move on from simple stains to learn the art of coloring wood for dramatic effect. To keep the information accessible and relevant.

The Art of Coloring Wood focuses on the six most popular woods used by woodworkers–maple, quartersawn white oak, mahogany, walnut, cherry and alder–and outlines the unique characteristics with regard to coloring each. After the six woods are outlined, The Art of Coloring Wood moves onto the supplies needed, including brushes, sandpaper, and much more, before proceeding into the easy-to-follow and engaging chapters on the different chemicals and dyes that will make your woodworking shine. The beauty of The Art of Coloring Wood is Miller’s simple approach that makes the chemistry very easy to understand. Each chapter offers recipes, insights, and many “a-ha!” moments that make learning about chemicals and dyes both fascinating and within easy reach.

With the helpful sidebars throughout the book offering tips, mistakes, and countless nuggets of information, The Art of Coloring Wood will have you understanding the methods and many worthwhile reasons for coloring your wood while chomping at the bit to get a project completed so you can finish it with style and flair.

Sujets

Artisanat

Dyé

Dye

Woodworking

Carpentry

Do-It-Yourself

Crafts

Hobbies

Woodwork

Informations

Publié par	Linden Publishing
Date de parution	15 novembre 2017
Nombre de lectures	1
EAN13	9781610353236
Langue	English
Poids de l'ouvrage	1 Mo

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Extrait

THE ART OF
COLORING WOOD

The Art of
COLORING WOOD
A WOODWORKER S GUIDE TO UNDERSTANDING DYES AND CHEMICALS
BRIAN MILLER MARCI CRESTANI

Contents
Acknowledgments
Safety Information Sheet A
Introduction: Why Color Wood?
1. How the Art of Coloring Wood Developed
2. Woods Samples
3. Supplies You Will Need
4. Prepping Your Wood for Color
5. A Few Reminders Before You Begin
6. Introduction to Chemicals
7. Ammonium Hydroxide for Fuming
8. Ferrous Sulfate
9. Ferrous Sulfate + Potassium Dichromate
10. Iron Acetate (Liquid Nightmare)
11. Nitric Acid
12. Potassium Dichromate
13. Sodium Carbonate
14. Sodium Hydroxide (Lye)
15. Introduction to Natural Dyes
16. Brazilwood
17. Cochineal
18. Logwood
19. Walnut Crystals
20. Introduction to Synthetic Dyes
21. Grain Filling
22. Glazes
23. Wire Brushing
24. Stains
25. Bloopers
About the Authors
The Art of Coloring Wood
A Woodworker s Guide to Understanding Dyes and Chemicals by Brian Miller and Marci Crestani
All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by an information storage and retrieval system, without written permission from the publisher.
Brian Miller and Marci Crestani 2017 All photos are courtesy of Marc Carter, except for pages 31 , 32 , 33 , 37 , 46 , 51 , 88 and 100 , which are courtesy of Fred Siegel. Graphic design by Maura J. Zimmer.
ISBN: 978-1-61035-305-2 135798642
Linden Publishing titles may be purchased in quantity at special discounts for educational, business, or promotional use. To inquire about discount pricing, please refer to the contact information below. For permission to use any portion of this book for academic purposes, please contact the Copyright Clearance Center at www.copyright.com .
Printed in the United States of America
Library of Congress Cataloging-in-Publication data on file.
The Woodworker s Library Linden Publishing, Inc. 2006 S. Mary Fresno, CA 93721 www.lindenpub.com
The authors are deeply grateful to Marc Carter for his professional photography featured in this book and to George Frank for his inspirational book Classic Wood Finishing . We are also indebted to Fred Siegel for his wonderful additional photography.
Together the authors would like to thank:
Pam Goldman
Tony Fortner
Gene Leslie
Nicholas Crestani
German Lucero
Sam Millard
Lilly Plasencia
Carl Stammerjohn
Camerino Velazquez
Arlen Heginbotham, Conservator, Decorative Arts and Sculpture, Getty Museum
Brian Miller would like to thank:
Tom Montgomery
Scott Goldstein and Lauren Gabor
Jim Ipekjian
Randell Makinson
Harvey and Ellen Knell
Zach and Denise Snyder
Harry Anderson
David Zander
Mark and Phaedra Ledbetter
Michael Schneickert and Karen Otamura
Joe Pytka
and last but certainly not least, his wife Nancy for all of her support.
Marci Slade Crestani would like to thank:
Dale Pryzbal of Woodfinishing Enterprises
Sue Ann Chui, Assistant Conservator of Paintings at the J. Paul Getty Museum
The Research Library staff at the Getty Research Institute
Don Williams, retired Senior Furniture Conservator at the Smithsonian
and most especially her husband Bob for his unflagging patience and good humor.
Critical Warnings to Read and Heed Before You Begin!
Most chemicals presented in this book are poisonous and/or carcinogenic if ingested and/or inhaled. Take care to keep all chemicals from contact with bare skin and clothing.
Cautionary Notes: ALWAYS wear gloves, eye protection and a respirator mask when handling chemicals. NEVER use chemicals to color any wood that will be used in food preparation or serving, such as cutting boards, salad bowls or serving utensils. ALWAYS thoroughly clean your work surface after working with chemicals. ALWAYS properly dispose of your chemicals and solutions under the guidance of your local waste management or environmental agency. NEVER mix chemicals at the same time in the same container within the same solution. Each chemical should always be formulated in its own solution in its own container. If you want to use more than one chemical to color your wood, make up a solution of the first chemical, apply it and let it dry. Then make up a separate solution in a clean container for the second chemical and apply it. NEVER SPRAY CHEMICALS. Always apply chemicals with a brush or sponge. ALWAYS properly store your chemicals in non-reactive containers (such as glass or plastic) in a dark, cool location. ALWAYS KEEP CHEMICALS OUT OF THE REACH OF CHILDREN!
One Final Note:
The most efficient (and least confusing) way to research the potential health, safety, environmental and reactivity risks of a particular chemical is to look up its MSDS (Material Safety Data Sheet) or its SDS (Safety Data Sheet). It is much more efficient to search by the chemical s precise name than to search the internet under the broad category of SDS for Chemicals. Many of the latter sites require a subscription or are very easy to get lost in!
So for example, if you are interested in using potassium dichromate, search SDS for potassium dichromate. And by reading through several of the results pages, you should gain an understanding of the risks involved. This book shows you the rewards.
Introduction: Why Color Wood?
For centuries, wood has been colored with chemicals and dyes. The question is: Why? The answer has remained the same: Chemicals and dyes enhance the color of wood and impart a deeper aged richness by accentuating the grain pattern in a way that stains and clear coat finishes do not.
As you will notice throughout this book, we refer to the process of coloring wood.
If there is only one thing that you take away from this book, we hope it is this: that you no longer use the words dye and stain interchangeably! They are two separate processes with two separate results. The one thing they share in common is that they both color wood . . . but with quite different effects. Chemicals and dyes color the fibers of the wood without leaving a residue. Light is able to travel into the wood and reflect back, revealing the grain pattern with a great degree of clarity. Stains deposit pigments into the pores of the wood and trap the light, which obscures the grain pattern.

Woodworker Lilly Plasencia wanted to do something outside of her comfort zone by trying some of the techniques she learned in Brian s finishing class. Her oak table is spray-dyed with Arti-Dye 138 blue and then grain-filled (highlighted) with gold Cres-Lite metallic powder.

The base of Marci Slade Crestani s table is actually made of maple dyed a deep brown color. She wanted the durability, weight and quiet grain pattern of hard maple but preferred a darker colored wood base to highlight the quilted maple top.
To illustrate the difference in terminology, it s as if you ask someone what they are cooking for dinner, and they say, I m going to boil some steaks. Then you ask someone else, and they tell you, I m going to grill some steaks. Both steaks are cooked. But the flavor and appearance between the two is very different. So it is with coloring your wood with chemicals and dyes versus coloring your wood with stains. Chemicals and dyes improve the flavor of the wood without masking it as stains do.
Beyond the choice of coloring agents (chemicals, dyes or pigments) available, there are also a number of additional methods for coloring wood that are covered.

Wanting to give an old-world patina to the contemporary design of her walnut table, Marci Slade Crestani applied a solution of potassium dichromate to it.
The point of coloring your wood by any method or medium, however, is to take your project to the next level of craftsmanship. As you are about to discover, there are many reasons to color wood: to heighten or shift tones that are already present in the wood or to completely alter the wood s color to the tone of another species or to let loose and play with non-wood colors. The results-as you can see by a few of these projects-are worth it.

An admirer of Charles and Henry Greene s Craftsman designs, German Lucero made this stunning mahogany nightstand and wanted to recreate the Greene Greene signature patina. Instead of using potassium dichromate as they did, German color-matched the chemical s effect with Mohawk Ultra-Penetrating Stain (inaccurately named because it is actually a dye) Dark Red Mahogany and Raw Sienna.

Gene Leslie is not intimidated by working with sodium hydroxide (lye), having colored his kitchen cabinets with it. He applied a very mild solution of the chemical on this cherry box and colored the walnut sides with India ink.

Both of these quartersawn white oak boxes crafted by Tony Fortner were fumed with ammonium hydroxide for the same length of time. One is notably darker than the other due to the presence of more tannins in the wood.
1
How the Art of Coloring Wood Developed
The centuries-old art of coloring wood with chemicals and dyes owes a huge debt to the textile industry. It was craftsmen in the latter trade who developed coloring techniques that were formulated with plant materials, chemicals and/or animal parts.
Some of these old methods may seem outright weird to us nowadays. For example, back in the 1800s, if you wanted to achieve a red color, you were advised to use the intestinal liquor of a sheep, along with its dung a