Finishing Essentials

T e c h n i q u e • C o l l e c t i o n

A Publication of August Home Publishing

Finishing Essentials

®

1 WoodsmithPlans.com COL008 © 2012 August Home Publishing Co. All Rights Reserved.

One of the keys to a top-notch finish is to start with a well-prepared “canvas.” I stick to a simple routine that guarantees a great result.

A high-quality finish starts before you ever open a can of stain or varnish. I’ve found that the simple surface preparation steps leading up to finishing can often make or break the end result. While it’s tempting to rush the process, a little patience up front can make the finishing go easier and turn out better.

The goal is easy to define. You want to end up with a smooth, clean, consistent surface on which to apply a finish. To achieve this, I go through a systematic, four-step surface prep routine.

First, I search for and remove any glue spots or squeezeout. Next, I take care of any surface blemishes that might be noticeable once the finish is applied. Third, I give the entire proj-ect a final, pre-finish sanding. Finally, I clean the surface to remove sanding dust and any other debris that might interfere with a smooth finish.

1 NO GLUE. Glue spots and squeezeout are the bane of finishing. Glue

on the surface blocks penetration of a stain or finish and creates an unsightly off-color blotch.

The best cure for glue blotches is prevention, of course. But this isn’t

always foolproof. To be absolutely certain there’s no glue left on the surface, you need to perform a final “inspection and removal.”

Start with a thorough examination of the most likely places — at or near the joints. Large beads of squeezeout are easy to find, but thin smears are harder to see. One way to make them stand out is to wipe the surface with mineral spirits (lower right photo).

Once I find glue, I go about remov-ing it in a couple of different ways depending on the location. On flat surfaces, you can scrape or sand it off. If the glue is in the corner, I start by carefully paring away as much as possible with a chisel. Then I use a damp rag to soften and scrub away the rest. (Ordinary PVA glue can be removed with water and a little elbow grease.)

2 FIXING BLEMISHES. Visible dents, dings, or minor chips are almost

inevitable. Sometimes a blemish is simply a small defect in the wood that you weren’t able to work around. But there are ways to fix them.

Depending on the type of blemish, I approach it with one of two fixes. Shallow dents can usually be lifted

with steam, as shown in the box on the bottom of page 2. The steam causes the wood fibers to swell, level-ing the depression.

If wood is missing or the surface has a natural defect, you’ll have to repair it with filler. There are a lot of different formulations of wood filler. The two most practical for fill-ing minor dings are the pre-mixed water-based and solvent-based types. Both come in a variety of

4 easy steps for perfect

Surface Prep

finishing room

{ You can search for glue smears by wiping the surface with mineral spirits. The glue blocks absorption and stands out.


colors and dry quickly to a hard sur-face that can be sanded. They’ll also accept stain to a degree.

I generally choose a color that’s a shade darker than the wood in the project. The filler tends to dry lighter than what you see in the can. The flat tip of a screwdriver makes a precise applicator. Try to limit the amount of filler you spread to the surround-ing area. It can fill the pores of the wood and show up once the finish is applied. When the filler is thor-oughly dry (check it with a finger-nail), you can easily sand it flush with the surface.

3 PRE-FINISH SANDING. When build-ing a project, I sand parts and

assemblies all along the way as

I’m working. But this doesn’t mean that once the project is complete, no further sanding is necessary. Before applying the stain or finish, I go over the entire project with a thorough pre-finish sanding. The goal is to create a consistent surface that will accept the finish evenly.

You may have scrubbed (with water) or scraped away glue, steamed out a dent, or filled a ding. If these areas aren’t sanded, they’ll take a stain or finish differently than the surrounding area. A good once over with 180-grit sandpaper will “level the field.”

At this stage, hand sanding is the way to go. You have better control. For large, open flat surfaces like a chest or tabletop, I wrap the sandpa-per around a padded sanding block. For contoured or hard-to-reach cor-ners, folded sandpaper works best, as shown above.

Since many surfaces won’t need much attention, you can work quickly. But try to be as thorough as possible. Sand into the corners and don’t overlook the narrow edges. Finally, gently ease any sharp edges. They’ll hold the finish better and be less prone to damage.

4 REMOVE THE DUST. Now it’s time for cleanup. Before you lay on a

finish, you need to remove all the sanding dust and any other debris

that may contaminate it. For me, this is a two-stage effort.

To begin, use compressed air or a vacuum to remove the bulk of the dust. A vacuum with a soft brush is the tidier way to get the job done and is my preferred method, as you can see in the right photo. Com-pressed air may be quicker. But you’ll want to blow off the project in a room separate from where you’ll do the finishing.

A final dusting with a tack rag completes the job, as shown in the main photo on page 1. The tack rag will pick up any remaining dust or debris and leave you with a clean surface ready for finish. And when the finish goes on, the wood will shine and your efforts will be rewarded.

How-To: Remove Dents with Steam

{ Shallow surface dents can often be lifted with steam. You start by wet-ting the affected area.

{ Place a dampened cloth over the surface and then apply a hot iron to force steam into the wood fibers.

{ The steam created by the hot iron causes the compressed fibers to swell back into shape.

{ By applying filler using a screwdriver, you avoid spillover into the surrounding area.

{ A final, pre-finish sanding ensures a smooth, consistent surface. Here, hand sanding allows you to get into all the nooks and crannies.

A vacuum with a soft brush will pull the sanding dust from the surface pores.

}

Before

After


Want a perfectly stained project every time? Here are a few easy

ways to ensure success.

7 simple tips and tricks for

Oil Stains

finishing room

If you apply an oil stain and the color looks “weak” and washed out, you might have overlooked an impor-tant step. The pigments in oil stain are simply suspended, not dissolved, in the solvent. While the can sits on the shelf unused, the pigments gradually settle to the bottom to form a thick, gooey layer (photo at right).

So after opening a can of stain, I never make assumptions. The stain may look

like it’s ready to use, but I always give it a good stirring to make certain. You’ll need to scrape all the pigments off the bottom and stir until the mix looks uniform. And then for good measure, I close the can and shake it for a minute or two. This ensures the stain will give the color you had expected.

And when you’re staining a large project over a period of time, it’s a good idea to stir the can periodically.

1 Stir it Up

I think every woodworker’s finishing nightmare is to apply stain to a project, only to find some glue was left on the surface and is spoiling the job. The glue won’t allow the stain to penetrate into the wood, causing a light, unstained area (right photo).

Unfortunately, this is an all too com-mon occurrence, but the fix is easy. It starts with some careful spot sanding

of the affected area. You want to sand away the glue without creating a dip in the surface. Carefully scraping away the glue and then sanding is also an option. Just be sure to sand up to the same grit as the surrounding area.

Double-check to make sure all the glue is cleaned off, then re-stain the sanded area. You may need to go over the sur-rounding area to even out the color.

2 Fix Glue Spots

Ask a woodworker what type of stain he or she likes to use and most often you’ll get the generic reply “oil stain.” Oil or pigment stains have been the standard way to color wood for years — and for good reason. For the most part, they’re easy to use and produce reliable results. You simply wipe or brush the stain on the wood, let it “soak in” for a few minutes and then wipe off the excess. It’s a simple way to obtain a very dramatic change in color.

But as anyone who has worked with oil stains knows, the process isn’t completely foolproof. And at this stage

of a project, if something goes wrong, it’s a serious downer. But for every problem you might encounter with oil stains, there’s almost always an easy way to prevent it from occurring or to solve it afterward. Read on to learn seven tips that will help you achieve the most flawless stain for your projects. You’re sure to find one or two tricks that you’ll use every time you stain.


{=tio It’s easy to avoid a blotchy staining job. Simply apply a pre-stain wood conditioner. When you apply an oil stain,

the pigments become trapped in the pores on the surface. This is what gives color to the wood.

But you’ll find that the stain isn’t choosy. It’ll fill every nook and cranny that it can find. Rough, crossgrain sanding scratches or heavy swirls

from a power sander can attract and soak up more stain than the surrounding area. Once the stain goes on, the scratches pop right out and spoil the job (lower right photo).

The key is to avoid this problem with careful and thor-ough sanding before staining. But if it’s too late for that, you can always sand away the scratches and then re-stain.

The final tip is simple, but it’s also one that I rely on frequently.

The problem is that it’s often a challenge to find the perfect color of stain for a project. The cherry stain you tested is too red or the mahog-any stain is too brown. For me, a custom mix is the solution.

Stain colors of the same brand can always be mixed to get an “in between” color. And even different brands of stain will often make a compatible mix. With a little experi-mentation, you can usually find the color you’re after. Just be sure to keep track of the formula.

It’s not uncommon, especially when working on a large project, to inadvertently leave a heavy streak or smear of stain behind when clean-ing off the excess, as you can see in the photo below. Or you might miss some stain that’s lodged in a hard-to-reach corner. Occasionally, the problem is simply a matter of applying stain to too much surface.

When you can’t clean the excess off fast enough, the stain starts to tack up before you get to it.

Don’t panic. This isn’t a big deal. In most cases, all you need to do to remove the dried stain is “re-wet” the area with fresh stain. The solvent will soften the stain and allow you to wipe down the area for an even, streak-free color.

Some types of wood have a well-deserved reputation for being hard to stain. Cherry, maple, and pine fall into this category. A coat of

oil stain usually leaves you with a very blotchy appearance, caused by uneven absorption of the stain (left half of board below).

Here, the best cure is an ounce of prevention. On blotch-prone woods, it’s a good idea to apply a wood con-ditioner before staining.

A conditioner is essentially just a clear stain. It penetrates the surface to partially seal the wood and limit absorption of the stain to follow. This gives you a much better shot at get-ting a uniform look from your stain-ing job, as demonstrated on the right half of the board.

3No Streaks or Smears

5Avoid Blotching

6Sand Away Scratches 7 The Perfect Color

4Matching End Grain The end grains on a project are a mixed blessing. Their porous surfaces will soak up stain like a sponge. The downside is that the end grain looks much darker than the surrounding areas.

But there’s an easy way to avoid this unwanted con-trast. Before staining, take the time to sand the end grain to a finer grit than the rest of the project. The smoother end grain will trap fewer pigments. This way, the color will end up matching the other parts of the piece better, as you can see in the photo below.


This easy-to-use product is the secret to achieving a rich, vibrant, and natural-looking color on your next project.

great color with

Water-Based Dyes

finishing room

} Water-based dyes can be mixed from powders or liquid concentrates.

Staining is often a finishing step that can make or break the appearance of a project. And unfortunately there’s no magic bullet that will guarantee a good outcome. But the more options you have to choose from, the bet-ter the chance of getting top-notch results. This is why I keep water-based dyes on hand.

WHy? A water-based dye can give you a look that’s very different from a typical oil stain. Oil stains contain large pigment particles that are sim-ply suspended in a solvent. When

the stain is applied, the pig-ments essentially sit on the

surface of the wood to give it color.

However, this can some-

times make

it difficult to produce a deep, natural color without obscuring the figure of the wood.

Water-based dyes work differ-ently. The dye particles are very small and actually go into solution — like sugar in water. This allows the water to carry the dye particles deep into the wood fibers. The result is a look that is more trans-parent and natural. You end up with a very rich, penetrating color that still lets the figure of the wood show through.

As you can see in the photo above, a dye can really “pop” the beautiful figure of woods such as curly or birdseye maple. And the penetrating nature of a dye makes it a good choice when a deep, dark color is required.

MIX IT UP. You’ll find dyes that are formulated for use with different solvents — water, alcohol, and oil-soluble types. However, because of their slower drying time, water-based dyes are by far the easiest to use, especially on large surfaces and projects.

A water-based dye can be mixed from a powder or a liquid concen-trate, as shown in the photo at left. The dyes come in a wide range of colors — both wood tones and “pure” colors. Two or more can be combined to create virtually any shade in the rainbow.

When you mix a powdered dye, always use precise measurements and keep track of the formula. This way, you can easily match the same color again, if necessary. For me, it’s


easiest to simply measure by vol-ume, but you can also weigh out the powder.

Although the instructions on the dye packet provide a recommended concentration, this is just a loose guideline. The base dye color can be lightened or darkened by changing the proportions of dye and water (photo below). Coming up with the desired color can involve experi-mentation. You’ll find that a small amount of dye goes a long way.

The dye powder will dissolve better in hot water. If any powder doesn’t dissolve, you’ll want to strain it out before applying the dye to the wood.

APPLIcATION. Applying a water-based dye requires a slightly dif-ferent technique than that used for an oil stain, but it’s just as easy.

With some practice, you’ll be an expert in no time. The How-To box below illustrates the basic routine.

The first thing you need to know is that, as you might guess, a water-based dye can raise the grain and leave a fuzzy surface. The solution to this drawback is to beat the dye to the punch by pre-raising the grain. Lightly dampen the surface, let it dry, and then sand away the raised fibers with 220-grit sandpaper.

A water-based dye can be brushed, wiped, or sprayed on. I like to use a foam brush (main photo on page 5). You can apply the dye quickly and it’s easier to get into all the nooks and crannies.

When applying a water-based dye, the goal is to avoid streaks and lap marks that result from not maintain-ing a wet edge. The relatively slow

drying rate helps you accomplish this. The trick is to flood the surface and keep it wet until the area you’re working on is completely coated. Then you wipe off the excess dye with a clean cloth. You’ll get consis-tent penetration and even color.

The color can be further darkened by applying a second coat once the first coat has dried thoroughly (30 minutes). Or, you can modify the color by applying a different shade over the first.

A TOPcOAT. Dyes don’t have an oil binder like pigment stains. So when the water evaporates, the color will appear drab. But once the topcoat is applied, the rich look will return.

Water-based dyes are compatible with most topcoats. The exception is a water-based finish. Applying a water-based topcoat can redissolve the dye and leave a streaky mess. If you want to use a water-based finish, you’ll need to seal in the dye with a coat of shellac or wiping varnish.

So the next time you’re debat-ing what the best color for a project would be, consider using a dye. I think you’ll be glad you did.

How-To: Apply a Water-Based Dye

{ Before applying the dye, it’s a good idea to pre-raise the grain by dampening the surface.

{ A thorough sanding with 220-grit sandpaper will then prevent the dye from raising the grain again.

{ Once an area is completely coated and still wet, wipe the excess dye from the surface.

{ The above photo shows how the color of the dye is dependent on the concentration of the mixture. The left sample is 1⁄4 teaspoon to 8 ounces of water while the right sample uses a full teaspoon.

{ Applying a topcoat brings back the vibrant color you observed while the dye was still wet.

w


Once you know what each type of finish brings to the table, making the right choice becomes a whole lot easier.

Woodworkers are pretty lucky these days. When it comes to deciding what type of finish to apply to a project, we have an abundance of options. The catch is that each class of finish has its own specific, and often very differ-ent, attributes. So choosing the best finish for a particular project involves matching up your requirements with the right finish. The key is having a good understanding of what various types of finishes have to offer.

cRITERIA. I judge each type of finish based on three basic criteria. First, I consider what sort of appearance the finish will produce — spe-cifically, color and sheen. Next, you need to take into account the method and ease of application. Finally, you want to match the pro-tection and durability offered to the needs of the project. I’ll offer a brief summary of how the common finishes available to woodworkers stack up in each of these areas.

PURE OIL. Simply wiping on several coats of a pure oil such as linseed or tung oil rates very high in terms of foolproof application. And the amber color that the oil imparts can be very desirable on many woods. However, on the downside, a pure oil finish won’t build a protective film, regardless of the number of coats you apply. You’ll get very limited moisture and abrasion resis-tance and little sheen. It’s best saved for “light-duty” projects that won’t see a lot of wear and tear.

OIL/VARNISH BLEND. A similar type of finish is referred to in the trade as an oil/varnish blend. It’s simply a

mixture of a pure oil, varnish, and mineral spirits. Watco and Minwax are a couple familiar brands. It’s equally easy to apply and produces an appearance similar to a pure oil. The bonus is that the varnish in the blend will give you slightly better protection. It will only build to a thin, relatively soft film with a mod-erate sheen. So again, don’t press your luck. Limit use to projects that will be treated kindly.

WIPING VARNISH. A wiping varnish is merely a varnish that’s been thinned about 1 to 1 with mineral spirits. The advantage is that the mixture is fluid enough to be applied easily with a rag. However, since a wiping varnish dries faster than an oil, you have to work at a good clip to wipe on the finish and then wipe off the excess before it tacks up.

A wiping varnish adds a fair amount of amber color to the wood and will build a thin film with a noticeable sheen. I would rate the protection offered by wiping var-nish as middle of the road. It’s a relatively foolproof choice for many moderate-wear projects.

a guide to choosing

The Best Finish

finishing room

{ Wipe-on oil finishes can’t be beat for fool-proof application and rich color. However, don’t count on a high degree of protection.


SHELLAc. Pre-mixed shellac consists of a natural resin dissolved in alco-hol. It’s extremely fast drying time makes it a very appealing finish. You can brush, spray, or wipe on a coat and it will be dry in a matter of min-utes — ready to sand and re-coat. This is why shellac makes a very useful sealer that can be applied under almost any other finish.

Available in both clear and amber, shellac produces a warm color and builds to a high sheen. Its moisture and scratch resistance fall in the low to middle range. I recommend shel-lac for any classic project that won’t see much wear.

LAcqUER. Lacquer consists of syn-thetic resins dissolved in very powerful solvents. Due to its fast drying time, lacquer is most easily applied with spray equipment. For this reason, it’s the standard finish on most commercially produced furni-ture. (There are slower-drying types that can be brushed.) You’ll find that all lacquers have a strong odor.

Standard lacquers produce a film with just a hint of amber color and a pleasing sheen. You have your choice in a range from matte to high gloss. You’ll get fairly reliable moisture pro-tection and good overall durability. If you have the means to apply it successfully, lacquer is a great way to finish any project.

WATER-BASED FINISH. Water-based fin-ish is the new kid on the block. It’s formulated using many of the same resins contained in other finishes, but with water as the carrier. So the big selling point is the absence of odor-producing and potentially harmful solvents. It can be sprayed,

brushed or padded on, although successfully brushing a water-based finish requires a practiced tech-nique. The fast drying time is a big plus while a tendency to raise the grain is a drawback.

One common problem that people have with a water-based finish is the lifeless, water-clear film it produces. The look can be pretty bland. An ini-tial stain or sealer is often necessary to add color to some woods.

From my experience, water-based finishes hold up well to all kinds of use and abuse. I wouldn’t be afraid to apply one to just about any type of project.

VARNISH. If durability and all-around protection are two things at the top of your wish list, varnish should be your choice. Although it comes in several formulations or resin types, polyurethane varnish now dominates the market. It forms a tough film that’s heat, moisture, and scratch resistant.

The light amber color of a poly varnish adds a warm look to the wood. However, a thick poly var-nish can take on a plastic look.

Varnishes are most commonly applied with a brush. But be aware that it takes an experienced hand to do a good job. The slow drying time is a negative. Only one coat a day is the rule. And you’ll need to control dust in the air. A poly var-nish is my number one choice for a “high-traffic” project such as a kitchen or coffee table.

Choosing the perfect finish often comes down to striking the right balance. A finish can be that vital component that your project needs. It can create luster, provide protec-tion from wear and tear, and prevent the wood from drying out. The good news is that when you decide what you want from a finish, there’s sure to be a choice that will meet your requirements, giving your project that final touch.

{ A good-quality spray system makes fast-drying lacquer or water-based finish a good option.

{ Polyurethane varnish forms a film that offers a very high degree of moisture and abrasion resistance.

Finish Type Appearance Application Protection/Durability

Pure Oil Dark Amber Color, Dull Sheen Wipe-on, Slow Drying Low

Oil/ Varnish Mix Amber Color, Minor Film & Sheen Wipe-on Fairly Low

Wiping Varnish Light Amber Color, Builds Thin Film Wipe-on, Short Working Time Moderate

Shellac Warm Color, Good Build Versatile, Fast Drying Moderate

Lacquer Light Amber Color, Good Build Fast Drying, Generally Sprayed Good

Water-based Finish Adds No Color, Good Build Brush or Spray, Fast Drying Good

Varnish Light Amber Color, Very Good Build Brush, Slow Drying Excellent

Finish Comparison


Any discussion of oil finishes usually begins with boiled linseed oil. This finish has been in use for hundreds of years. Its main advantage is that it gives wood a warm, amber color. Best of all, boiled linseed oil is inexpensive, and you can find it in almost any hardware store or home center.

The oil is pressed from the seeds of the flax plant. And it isn’t boiled. In the past, the oil was heated so that it would dry quicker and harder. Now, chemical drying agents are added to speed the process. Linseed oil typi-cally has a thicker consistency (like maple syrup) than the other oils mentioned here.

Over time, boiled linseed oil will yellow, especially on light woods like maple. So I find that you get the best effect on medium- to dark-colored wood.

The warm, timeless, “in-the-wood” look and silky feel of an oil finish makes it an attractive option for woodworkers. A simple application process that’s nearly impossible to mess up clinches the deal.

If all this sounds ideal to you, take a look at these three types of pure oil finishes. Then you’ll learn how to take advantage of their unique benefits.

Precautions. Keep in mind that classic oil finishes aren’t perfect.

Their main drawback is limited dura-bility. An oil finish doesn’t form a film, so it doesn’t stand up well on heavily used surfaces like a dining table.

aPPlication. An oil finish may also take longer to apply than some other types. Oils, by nature, dry slowly, so you can usually apply only one coat per day. (In cool, damp conditions, you may need to wait two days.) I recommend four to five coats for the best look and greatest protection.

In a nutshell, here’s how to apply an oil finish. For the first coat, flood the surface with oil and let it soak in well. After 20-30 minutes, wipe off any excess. For the following coats, I rub in a thin layer of oil and then wipe off the excess. When it’s completely dry (about a day or two), the project is ready.

Finally, a safety note: Make sure to spread out oily rags and allow them to dry fully to prevent spon-taneous combustion.

These three simple, traditional finishes combine great looks with easy application.

pure

Oil Finishes

PROS:

CONS:

• Imparts warm amber color on medium-colored wood• Enhances figure in wood• Inexpensive• Easy to find

• Softest finish• Finish yellows over time • Not very moisture resistant• Can encourage mold & mildew growth in damp conditions

LINSEED OIL


Finishing products always seem to have a little mystery surrounding them. That’s especially true with tung oil. There are a few products on the market called “Tung Oil Finish” or “Tung Oil Varnish.” The truth is they have little or no actual tung oil in them. The easiest way to find “true” tung oil is to look for it on the label. Several specialty mak-ers produce “100%” or “Pure Tung Oil.”

Tung oil does have some advantages. As you can see in the photo at left, it’s lighter in color, so it works better on lighter-toned wood than boiled linseed oil. It also doesn’t yellow with age, so it’s a better bet on light woods.

And even though it dries slowly, tung oil does dry harder than linseed oil. That means you end up with a finish that “builds up” faster and is more water-resistant.

Of all the pure oil finishes, walnut oil is the least common. But I include it here because it’s a great “natural” finish that doesn’t have any chemicals added to the oil. Some people like it for kitchen items and toys.

There are two types of walnut oil finish available. One is simply pure walnut oil that you find at the grocery store. It’s usually used for making salad dressing. The other type is the one shown here. This brand has been heat-treated to speed the drying time and create a more durable finish. If you want to thin this finish for greater penetration, I recommend citrus oil.

When used on cutting boards, spoons, and bowls, you’ll need to renew the finish from time to time by simply wip-ing on another coat. But also be aware of potential allergies when using this type of oil on kitchenware.

{ Shellac Sealer. Wipe on a couple coats of shellac to seal the oil. Wait 10 to 15 min-utes between each coat. Then sand the surface smooth.

quick & easy Hybrid FinishThe traditional oil finish I explained earlier looks beautiful — its appli-cation is just time-consuming. I’ve come up with a way to get the look of a pure oil finish with more dura-bility and in less time.

The process starts by applying a thin coat of oil on the workpiece — just enough to give it a warm color. Then wipe off any excess until the surface feels dry. After letting the oil set up for 30 minutes, you can seal it and protect it with shellac and varnish. Simply follow the steps at right, buffing out the finish at the end for a satin sheen.

{ Varnish Top Coat. To add sheen and increased durability, wipe on two to three coats of a fast-drying varnish. You can add a coat every two hours.

{ Buff It Out. Use #0000 steel wool to rub out the finish. This way, you’ll get a satin sheen once the last coat dries.

PROS:

CONS:

• Dries harder than boiled linseed oil• Creates thicker “film” in fewer coats• Won’t yellow lighter wood

• Dries slowly• More expensive• Often gets confused with wiping varnish• Lacks warm, amber tone of boiled linseed oil

PROS:

CONS:

• No chemical additives• Great for toys, food bowls, and eating utensils• Lightest color

• Most expensive• Hard to find• Not very durable• Needs to be renewed often• Some people are allergic to walnuts

TUNG OIL

WALNUT OIL

Woodsmith Store800-444-7527

Lee Valley 800-871-8158 leevalley.com

Rockler 800-279-4441 rockler.com

W.D. Lockwood 866-293-8913

wdlockwood.com

Woodcraft 800-225-1153 woodcraft.com

Woodworker’s Supply

800-645-9292 woodworker.com

MAIL ORDER

SOURCES

Project SourcesFor clear, vivid colors, it’s hard to beat water-based dyes. You can find dyes in a wide variety of wood tones as well as bright colors, in both powder and liquid form. They are sold through a number of the woodworking retailers, such as Lee Valley, Rockler, W.D. Lockwood, Woodcraft, and Woodworker’s Supply.

The easy-to-apply finishes in the “Pure Oil Finishes” article on page 9 included walnut oil (146022) from Woodcraft, and tung oil (849-216) from Woodworker’s Supply.

11 WoodsmithPlans.com COL008 ©2012 August Home Publishing Co. All Rights Reserved.

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