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charliemaine

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  1. If it's dye your after I would recommend this kit. The dyes are excellent and can be mixed into many shades. https://www.woodessence.com/Dyes-Pigments/ColorFX-Dye-Concentrates/ColorFX-Dye-Wood-Tone-Kits
  2. I've done several long cooks and never achieved a nice red color. When spread thin and a red pigment was mixed in it always turned way too orange, naturally. The key was to find a good transparent red varnish. There are a few varnish makers producing these. A nice red varnish mixed with red pigments helps lay down an intense layer of color. I never liked the look of varnish mixed with tube paints. I find lakes look better and are more transparent. I also prefer pigments in dry form rather than in the tube.
  3. These three are my favorite pigments. When mixed with these varnishes I can control the intensity and need only two or three coats of color on top of the ground color. And finally a clear coat on top. Others have recommended these but I have yet to experiment with them. For me madder and cochineal lakes work when mixed with the varnishes mentioned. This is just two coats...
  4. Another recent addition to the Spurgeon article I found worth saving. As this idea has come up a lot in discussion on MN. Here it is... heat refining debunked There is a linseed oil refining method that sometimes surfaces that involves heating the oil to 600F briefly to 'burn off' the mucilage. Simple, done, why do anything else? I've always thought this could not work, mostly because no one, from all the older refining methods, to the modern refining method, does this. All these methods involve water. Because the mucilage is water-soluble. But this came up again recently from a correspondent who simply wanted to know if it was true, and I asked my friend Roland what he thought about it. Roland is a chemist by trade and both thinks about and researches these things several levels beyond what I can. First, he found out that the 600F method has its origin in print in a 20th century industrial method to bleach oil. But he didn't find anything about using this method to refine the oil, so he decided to do it and see what happened. He heated the oil as quickly as possible on a hot plate with a stirbar to 600F, then let it cool, and washed it with water and salt. And there is the mucilage, changed, like the oil, by the heat, but present. And will therefore make the film weaker, and attract water that makes the film darker. But, gasp, note that the oil is lighter! Oh my, this must mean it is better! But the 'wet' colour of the oil and the 'dry' colour of the oil are a function of two different processes. They have nothing to do with one another. The wet colour is always fugitive unless the oil has been carbonized. (This is in fact part of the strange appeal of the leaded oil called black oil, the nefarious wet colour 'magically' disappears.) The dry colour is a function of chemical changes that can occur as the fatty acids in the oil are broken down and rearranged into smaller molecules by interacting with oxygen. Everyone thinks that the wet and dry colour are linked. Even Ralph Mayer thought this. But they are not. No, no, a thousand times no. Yet, people want to believe it, so they do. I went through this myself for many years before finally realizing that two different things were involved. Isn't it weird how easy it is to be fooled by appearances? Anyway, this procedure might be useful after the oil has been refined for a fine style, but it doesn't refine the oil. Microscope photo from Roland of the oil above. Round bubbles are water, wrinkled bubbles are mucilage coagulated by heat.
  5. It's still here for now, you can save the .jpeg images. https://www.tadspurgeon.com/content.php?page=just+oil
  6. If you read Spurgeon's article he mentions doing this. It works.
  7. What brand of contour gauge are you using? Varsk?
  8. The color looks very much the same as Old Wood's primer which to me is a little too orange. When I used OW's primer I suspected it had some dye mixed with an oxidizer because of the orangey color. Are you adding any type of coloring agent to the oxidizer? Do you get the same color on maple? I prefer more yellow/gold in my ground. Nice blotch free application.
  9. If anyone has a copy to sell please let me know.
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