French Polishing and Enamelling Part 5

_Fillings for Light Woods._--Take 5 lb. of whiting, 3 lb. calcined plaster (plaster of Paris), 1/2 gall. of raw linseed-oil, 1 qt. of spirits of turpentine, 1 qt. of brown j.a.pan, and a little French yellow to tinge the white. Mix well, and apply with a brush; rub it well with excelsior or tow, and clean off with rags. This thoroughly fills the pores of the wood and preserves its natural colour.

_Another for Light Woods._--Take 10 lb. of whiting, 5 lb. of calcined plaster, 1 lb. of corn starch, 3 oz. calcined magnesia, 1 gall. of raw linseed-oil, 1/2 gall. spirits of turpentine, 1 qt. of brown j.a.pan, 2 oz. French yellow. Mix well, and apply with brush; rub in well with excelsior or tow, and clean off with rags.

_For Mahogany or Cherry Wood._--Take 5 lb. of whiting, 2 lb. of calcined plaster, 11/2 oz. dry burnt sienna, 1 oz. Venetian red, 1 qt. of boiled linseed-oil, 1 pt. of spirits of turpentine, and 1 pt. of brown j.a.pan.

Mix well, apply with brush, and rub well in with excelsior or tow. Clean off with rags dry.

_For Oak Wood._--Take 5 lb. of whiting, 2 lb. calcined plaster, 1 oz.

dry burnt sienna, 1/2 oz. of dry French yellow, 1 qt. raw linseed-oil, 1 pt. benzine spirits, and 1/2 pt. white sh.e.l.lac. Mix well, apply with brush, rub in with excelsior or tow, and clean off with rags.

_For Rosewood._--Take 6 lb. of fine whiting, 2 lb. of calcined plaster, 1 lb. of rose-pink, 2 oz. of Venetian red, 1/2 lb. of Vand.y.k.e brown, 1/2 lb. of Brandon red, 1 gall. of boiled linseed-oil, 1/2 gall. of spirits of turpentine, 1 qt. of black j.a.pan. Mix well together, apply with brush, rub well in with tow, and clean off with rags.

_For Black Walnut_ (1).--For medium and cheap work. Take 10 lb. of whiting, 3 lb. dry burnt umber, 4 lb. of Vand.y.k.e brown, 3 lb. of calcined plaster, 1/2 lb. of Venetian red, 1 gall. of boiled linseed-oil, 1/2 gall. of spirits of turpentine, 1 qt. of black j.a.pan.

Mix well and apply with brush; rub well with excelsior or tow, and clean off with rags.

_For Black Walnut_ (2).--An improved filling, producing a fine imitation of wax finish, may be effected by taking 5 lb. of whiting, with 1 lb. of calcined plaster, 6 oz. of calcined magnesia, 1 oz. of dry burnt umber, 1 oz. of French yellow to tinge the white. Add 1 qt. of raw linseed-oil, 1 qt. of benzine spirits, 1/2 pt. of very thin white sh.e.l.lac. Mix well, and apply with a brush; rub well in, and clean off with rags.

_An Oil-Colour for Black Walnut_ (3), to be used only on first-cla.s.s and custom work.--Take 3 lb. of burnt umber ground in oil, 1 lb. of burnt sienna ground in oil, 1 qt. of spirits of turpentine, 1 pt. of brown j.a.pan. Mix well and apply with a brush. Sand-paper well; clean off with tow and rags. This gives a beautiful chocolate colour to the wood.

Numerous compositions are in the market for filling the pores of wood, and in this connection particular attention has been given to walnut, for the reason that this wood is used in large quant.i.ties in the furniture industry, and is nearly, if not quite, as porous as any other of the woods used.

A variety of walnut fillings have been recommended to the trade in order to meet the demand consequent upon the different grades of finish and the method of obtaining the finish, so that it would be difficult to p.r.o.nounce as to the superiority of any one filling for general purposes.

In treating this subject, attention should be given to the necessities for the use of filling, so that each one may determine for himself the kind of composition best adapted for the work in hand, and the best method of applying it.

=Finis.h.i.+ng.=--Having described the methods of making and applying the "fillings," we will now describe the mode of finis.h.i.+ng, and begin with the "dead-oil finish." We can remember when a satisfactory oil-finish was produced either with a good quality of j.a.pan or a fair quality of spirits. These materials are recommended to be used by inexperienced workmen and those not familiar with the mixing of the various grades of j.a.pan and varnish with oil, turpentine, benzine, etc. This method of oil-finish, too, is scarcely inferior to the sh.e.l.lac or spirit-varnish method, and it is cheaper. When the best finish is desired, a sufficient number of coats to fill the pores of wood to a level are required, and then the whole surface should be subjected to the rubbing process. The use of these fillers provides an oil-finish in a simplified form for those who are not aware of the difference between hard and soft gum compositions as a base for rubbing. In fact, the rubbing process const.i.tutes a fine oil-finish, and requires a hard gum, whether it be of j.a.pan, varnish, or sh.e.l.lac.

The use of varnish or its subst.i.tute as a filler and finish is more frequent than the use of sh.e.l.lac, and for cheap work it is equally good.

The surface produced by a hard gum composition must be smooth and dead, or but slightly glossed, so as to admit of the pores being filled full or to a level. It may be added that a coat or any number of coats of the composition referred to above is substantially a filling, and the quality of finish depends upon the number of coats, together with the amount of rubbing applied.

Thus far we have simply called attention to the best quality of oil-finish and the manner of producing it. Possibly three-fourths of all wood-finis.h.i.+ng, particularly walnut-finis.h.i.+ng, is several degrees below the best quality. In fact, oil-finish may imply only one coat of any composition that will dry, while two coats may be regarded as fair, and three coats a very good quality of finish. For the cla.s.s of finish not rubbed down with pumice-stone and water, oil-varnish would be out of place on account of its gloss; hence sh.e.l.lac, being in composition similar to j.a.pan, is the better material, because of its dull appearance or lack of gloss as compared with sh.e.l.lac.

In addition to the liquid fillers already mentioned, there is a putty or powder filling used for cross-grained woods, or such woods as have a deep pore. This filling is forced into the wood previous to the application of the other finis.h.i.+ng compounds, with the use of which it in no way interferes. On the contrary, it economises the use of the liquid fillers, and, while const.i.tuting a part of an oil-finish, is also a finish wholly independent of the other methods mentioned--that is to say, the same results can be obtained by the use of either one, although the putty or powder filling is attended with greater expense both as to time and material. The hard filling is generally used on walnut, ash, and all coa.r.s.e-grained woods.

With regard to oil-finishes, viz., spirit-varnish or oil-varnish, sh.e.l.lac is thought by many to be the best for fine work; but others think differently. We may say of sh.e.l.lac that it will finish up into any degree of polish, and while it will not retain a French polish long in this climate, it will replenish easier and cheaper than any other finish, and continue to improve under each application. For a common finish, however, oil preparation is as good as sh.e.l.lac, and even for a fine finish it is only second to sh.e.l.lac, if made of a hard gum. On common finish, too, the oil will wear better than sh.e.l.lac in stock or on storage, so far as preserving its freshness is concerned.

The cost of oil-finish is governed chiefly by the amount of labour expended on it. A suite of walnut furniture can be well rubbed with sand-paper in two hours, or even less; while two weeks could be profitably employed in rubbing another suite with pumice and water.

=Black Walnut Finis.h.i.+ng.=--The fas.h.i.+onable finish for black walnut work, particularly chamber sets, is what is known to the trade as the "dead-oil finish." It is admired, perhaps, because it has a gloss, rather than a s.h.i.+ne of the varnish stamp. There is no more labour required upon it than upon a bright finish, but the process of manipulation is different, and harder to the fingers.

It should be premised that the walnut work of the day bears upon its surface, to a greater or less extent, raised panels covered with French burl veneer. And upon this fact largely depends the beauty of the production. And the endeavour is to so finish the article that there shall be a contrast between the panel and the groundwork on which it is placed. In other words, the former should be of a light colour, while the latter is of a darker shade. In that view the palest sh.e.l.lac should be used on the panels, and darker pieces, liver coloured, etc., on the body of the work. The darker grades of sh.e.l.lac are the cheaper, and will answer for the bulk of the work, but the clearest only for the panels.

In commencing to finish a job direct from the cabinet-maker's hand, rough and innocent of sand-paper, first cover the panels with a coat of sh.e.l.lac to prevent the oil in the filling from colouring them dark.

Next, cover the body of the work with a wood filling composed of whiting and plaster of Paris, mixed with j.a.pan, benzine, and raw linseed-oil, or the lubricating oil made from petroleum; the whole covered with umber, to which, in the rare cases when a reddish shade is wanted, Venetian red is also added. This filling is then rubbed off with cloths, and by this process tends to close up the grain of the wood and produce an even surface. More or less time should be allowed after each of the several steps in the finis.h.i.+ng process for the work to dry and harden, though much less is required in working with sh.e.l.lac than with varnishes composed of turpentine, oil, and gums. But the time that should be allowed is often lessened by the desire to get the work through as soon as possible, so that no standard can be set up as to the number of hours required between each of the several processes. It would be well if twelve hours intervened, but if work to which ten days could well be devoted must be hurried through in three, obviously the processes must follow each other in a corresponding haste.

A coating of sh.e.l.lac is then given the whole work, light on the panels and dark on the body work, and when it has dried and hardened, which it does very soon, it may be rubbed down. This process of "rubbing down"

should be done evenly and carefully, so as not to rub through the sh.e.l.lac at any point, and be done with the finer grades of sand-paper for the cheaper cla.s.s of work, particularly at first, but at a later period of the process, and for the better cla.s.s of articles in all cases, hair-cloth should be used, the material for the "rubbing down"

being pumice-stone moistened with raw linseed-oil for the best work, and the lubricating oil, before mentioned, for cheaper work, or the covered parts of the better grades. This rubbing down involves labour, wear of fingers and finger-nails, and is carried on with an ordinary bit of hair-cloth, the smooth surface next the wood, and not made in any particular shape, but as a wad, ball, or otherwise. In the corners and crevices where the hair-cloth will not enter it will be necessary to use sand-paper of the finest grades, and worn pieces only.

Three coats of sh.e.l.lac are put on, followed each time by this rubbing-down process, each one giving the work a smoother feeling and a more perfect appearance. Afterwards, to complete the whole, a coating of j.a.pan thinned with benzine is applied, which gives to the work a clean appearance and the dead glossy finish.

There is this objection to the above style of finish, that the j.a.pan catches all the dust which touches it, and holds it permanently, so that many of the best workmen will not have work finished in this way for their own private houses, preferring the brighter look given by sh.e.l.lac and varnish without rubbing down the last coat, believing that the work can be kept much cleaner.

=Finis.h.i.+ng Veneered Panels, etc.=--The large oval panels of desks, etc., covered with French veneer, are generally taken out and finished by themselves. The process is similar to that above given, with successive coats of sh.e.l.lac and varnish, and the oil and pumice-stone rubbing down; but the final part of this latter process is a rubbing down with rotten-stone; then the merest trifle of sweet-oil is applied all over the surface and wiped off. (See Rosewood, etc., farther on.)

_For Light Woods (Dead Finish)._--Apply two or three coats of white sh.e.l.lac; rub down with pumice and raw linseed-oil, and clean off well with rags; use varnish-polish on the panels.

_Another._--Finish as in the previous recipe. For a flowing coat of varnish-finish apply one flowing coat of light amber varnish. If a varnish-polish is desired, apply three coats of Zanzibar polis.h.i.+ng varnish. Rub down and polish, and the result will be a splendid finish.

_Mahogany or Cherry Wood._--For sh.e.l.lac _dead finish_ apply two coats of yellow sh.e.l.lac. Rub down with pumice and raw linseed-oil. If a varnish-finish is desired, apply a flowing coat of light amber varnish or sh.e.l.lac thus rubbed. The panels should receive two coats of Zanzibar polis.h.i.+ng varnish.

_Oak._--For a _dead finish_ give three coats of sh.e.l.lac, two-thirds of white and one-third of yellow, mixed. Rub down with pumice and raw linseed-oil. For a cheap varnish-finish give one flowing coat of light amber varnish in the sh.e.l.lac, rubbed as directed. Varnish-polish the panels.

_Rosewood, Coromandel, or Kingwood (a Bright Finish)._--Apply two thin coats of sh.e.l.lac, sand-papering each coat; then apply three or four coats of Zanzibar polis.h.i.+ng varnish, laying it on thin, and giving it sufficient time to dry thoroughly. When it is perfectly hard, rub down with pumice and water. Polish with rotten-stone to a fine l.u.s.tre, clean up with sweet-oil, and vapour up the oil with a damp alcohol rag. The result is a splendid mirror-like polish. This is the method employed in polis.h.i.+ng pianofortes in America.

_Walnut._--For a cheap finish, apply one coat of yellow sh.e.l.lac. When dry, sand-paper down. Apply with brush; rub in well; clean off with rags. This gives a very fair finish.

For a medium _dead finish_ apply two or three coats of yellow sh.e.l.lac.

When dry, rub down with pumice and raw linseed-oil; clean up well; varnish-polish the panels.

For _finish._ Before using the above filling, give the work one coat of white sh.e.l.lac. When dry, sand-paper down, and apply the above filling.

Give two coats of white sh.e.l.lac; rub down with pumice and raw linseed-oil; clean up well with brown j.a.pan and spirits of turpentine, mixed. Wipe off. This is a good imitation of wax-finish; it is waterproof, and will not spot as wax-finish does. The panels are to be varnished-polished. This is to be used with the improved filling No. 2.

For _finish._ Apply three coats of yellow sh.e.l.lac; rub down with pumice and raw linseed-oil; clean off well. Varnish-polish the panels. Use this with the oil colour No. 3.

=Finis.h.i.+ng Cheap Work.=--_With One Coat of Varnish._--Give the work a coat of boiled linseed-oil; immediately sprinkle dry whiting upon it, and rub it well in with tow all over the surface. The whiting absorbs the oil and completely fills the pores of the wood. For black walnut add a little dry burnt umber. For mahogany or cherry add a little Venetian red, according to the colour of the wood. The application can be made to turned work while in motion in the lathe. Clean off well with rags. The work can then be finished with a single coat of varnish, and for cheap work makes a very good finish.

For varnis.h.i.+ng large surfaces, a two-inch oval varnish brush is to be used first to lay out the varnish, and then a two-inch flat badger flowing-brush for a softener. The latter lays down moats and bubbles left by the large brush. A perfectly smooth gla.s.s-like surface is thus obtained. When not in use, these tools should be put into a pot containing raw linseed-oil and spirits of turpentine. This keeps them in a better working condition than if they are kept in varnish, making them clean and soft. Standing in varnish they congeal and become hard as the spirit evaporates from the varnish. For sh.e.l.lacing a large surface use a two-inch bristle brush; for small work, such as carvings and mouldings, use a one-and-a-half inch flat brush. These brushes when not in use should be taken from the various pots and deposited in an earthen pot sufficiently large to hold all the sh.e.l.lac brushes used in the shop. Put in enough of raw linseed-oil and thin sh.e.l.lac to cover the bristles of the brushes. Kept in this manner, they will remain clean and elastic, and will wear much longer.

_Wax Finis.h.i.+ng._--Take 1/2 gall. of turpentine, 11/2 lb. yellow beeswax, 1 lb. white beeswax, 1/2 lb. white rosin. Pulverise the rosin, and shave the wax into fine shavings. Put the whole into the turpentine, and dissolve it cold. If dissolved by a fire-heat, the vitality of the wax is destroyed. When it is thoroughly dissolved, mix well and apply with a stiff brush. Rub well in, and clean off with rags. When dry, it is ready for sh.e.l.lac or varnish as may be desired.

_A Varnish Polish._--Take 10 oz. gum sh.e.l.lac, 1 oz. gum sandarach, 1 drachm Venice turpentine, 1 gall. alcohol. Put the mixture into a jug for a day or two, shaking occasionally. When dissolved it is ready for use. Apply a few coats. Polish by rubbing smooth.

For the commonest kind of work in black walnut a very cheap polish can be made in the following manner: Take 1 gall. of turpentine, 2 lb.

pulverised asphaltum, 1 qt. boiled linseed-oil, 2 oz. Venetian red. Put the mixture in a warm place and shake occasionally. When it is dissolved, strain and apply to the wood with a stiff brush. Rub well with cloth when dry. Then take 1 pt. of thin sh.e.l.lac, 1/2 pt. boiled linseed-oil. Shake it well before using. Apply with cloth, rubbing briskly, and you will have a fine polish.

_With Copal or Zanzibar Varnish._--As a subst.i.tute for filling, the wood may receive one coat of native coal-oil, thinned with benzine-spirits; then apply one coat of sh.e.l.lac, and follow with varnish, as desired. The time is not far distant when manufacturers must and will use varnish for the finis.h.i.+ng of all kinds of furniture on account of the high price of sh.e.l.lac. Furniture finished in the last-named method may be rubbed with either water or oil. Water has a tendency to harden varnish, while oil softens it. If water is used there will be a saving of oil and rags. In the other case sh.e.l.lac, when rubbed with oil, should be cleaned with j.a.pan. This removes the greasy and cloudy appearance which is left after the rubbing with oil, and the work will have a clean, dry, and brighter appearance than otherwise.

We suggest another idea for finis.h.i.+ng black walnut for a cheap or a medium cla.s.s of work. In the first place, fill the pores of the wood, and apply one thin coat of sh.e.l.lac to hold the filling in the pores of the wood. Let this stand one day; sand-paper down with fine paper, then with a brush apply a coat of coach j.a.pan. Rub well, and clean off with rags. Let this stand one day to dry, then, with some sand-paper that has been used before, take off the moats from the j.a.pan. Go over the whole surface with a soft rag saturated with j.a.pan; wipe and clean off carefully, and the job is finished. This, though a cheap finish, is a good one for this cla.s.s of work.

We give one more method of finis.h.i.+ng black walnut, that is, with boiled linseed-oil only, and there is no other way of obtaining a genuine oil-finish. Sand-paper the wood down smoothly; apply a coat of boiled linseed-oil over the whole surface; sand-paper well, and clean up dry with rags; let it stand one day to dry, then apply one more coat of oil; rub well in with rags, but do not use sand-paper on this coat. Apply three, four, or more coats in the same way. When the work has received the last coat of oil and is dry, sand-paper down with old paper. Then clean up with the best coach j.a.pan with rags, and let the work stand one day to dry. The panels are to be varnish-polished the same as other wood. The work is then finished, and ready for the warerooms.

This method takes a longer time than finis.h.i.+ng with either varnish or sh.e.l.lac; but the cost is less both for materials and for labour, the workman being able to go over a greater surface in the same time. The work will stand longer, and the method gives a rich and close finish, bringing out the figure and rich colour of the wood better than in any other method of finis.h.i.+ng. It does not cost so much as sh.e.l.lac finish; it only requires a little more time for drying between the coats of oil.

In finis.h.i.+ng in varnish or sh.e.l.lac, to get the body or surface for polis.h.i.+ng three or four coats are frequently applied, which is liable to produce a dull cloudy appearance. For this reason, and having in view the high and increasing price of stock, it seems to us that this really superior method of finis.h.i.+ng in oil must take the place of sh.e.l.lac and varnish-finish in good work.

=Polis.h.i.+ng Varnish.=--This is certainly a tedious process, and considered by many a matter of difficulty. The following is the mode of procedure: Put two ounces of powdered tripoli into an earthen pot or basin, with water sufficient to cover it; then, with a piece of fine flannel four times doubled, laid over a piece of cork rubber, proceed to polish your varnish, always wetting it well with the tripoli and water.