%!$ Easy Diy Woodworking Bench Plans For You #!@

pure-tung-oil-guitar-finish Machinery Exchange. More Modern Components: Resin : Synthetic resins like phenolic. I've done a few builds with Tung Oil - got reasonably good results and it's easy to apply. All drying pure tung oil guitar finish, some single component polyurethanes and some alkyds produce heat while curing. Methanol is highly toxic and therefore, not the best choice. Apr 27, Gutar forums.

Posts: I've used tung oil and danish oil a little bit, but never tried to achieve a gloss finish. It seems like many here use Tru Oil and perhaps for good reason. I would consider researching some of the threads on Tru Oil and see if you want to go that route, or else Test on some scrap wood with the tung oil and see if you get the results you want Dec 23, 6. Posts: 4, I did my twelvecaster with tung oil by applying the oil with a soft cloth and letting it dry for a day, then wire wooling it.

After it had sat for a while, about a week, I polished it vigorously with an old T shirt. It isn't exactly shiny, not quite matt, but just pleasant. It lets the wood show through. You'll not get a nitro or poly like shine with tung oil. Maybe tru oil, but not just plain old tung. For the neck, I used if I remember correctly , four coats for the back and two for the fingerboard.

It holds up well. I didn't thin with naptha. Dec 23, 7. Dec 23, 8. DonM , tery and Lake Placid Blue like this. Dec 24, 9. It looks pretty cool Dec 24, Posts: 7, Lake Placid Blue likes this. Dec 27, I've started experimenting on two pieces, one with stain and one with dye but after three coats of tung oil I can't seem to see any build up.

Is this normal? I'm applying with a napkin letting it sit for twenty and wiping and scrubbing any excess off with a piece of cloth. Am I doing something wrong?

What type of wood are you using? It will take a lot longer than 20 minutes for even a thin coat to get to the point where you aren't wiping most of it back off. Try leaving it for a day. Thin coats, and many of them, with a day between coats. You'll not get much of a build up with each coat. Apply, let it dry, wool it back. Be prepared for it to take some time. It'll take a week probably longer this time of year between your final coat and buffing.

Some woods will absorb the oil, some won't. Take your time. If you want a quicker finish, choose another product. I am not looking for high gloss, I would be happy with anything between high gloss and satin. Dec 28, Natural dyes remained valuable commodities until the mid s when the invention of aniline dyes by an English Chemist named Perkins brought the natural dye industry to an end.

The greasy substance left over after the refinement and separation of the lac dye was discovered to have similar properties to urushiol. An English writer visiting India in observed the use of shellac as a protective coating for woodwork. This was his observation modified to read more easily :.

London, Sir I. Shellac was not widely accepted as a furniture finish in the West until the early s. Wax and oil finishes had been the finish of choice throughout the West until that time. The benefits, and the gloss finish, became the norm in the early s and remained popular until the development of nitrocellulose lacquer in the s and 30s. For woodworking, shellac is sold in flake form and then dissolved in ethanol.

There are many grades and colors of shellac flakes from the highly refined Kusmi and Golden Bysacki, to the standard grade TN Truly Native — hand processed in India from sticklac. The reason shellac is sold in flake form is that the flakes will last a very long time without breaking down but once mixed with ethanol has a limited shelf life.

Once dissolved in ethanol, the shellac begins a chemical transformation known as esterification that eventually will render the mix as a sticky gum that will not dry. For this reason, it should be used shortly after mixing. Shellac flakes will dissolve in denatured alcohol, methanol, butyl or propyl alcohol. Each has a different rate of evaporation and therefore affects the mix ability to spread evenly under brush applications.

Methanol is highly toxic and therefore, not the best choice. It was widely used in older applications and sometimes referred to as wood alcohol or methylated spirits.

It is believed that the first varnish finishes were developed from the trees of the forests that once covered that region. The earliest varnishes were formulated from tree sap pine sap and a solvent applied by brush for a golden, glossy finish. Traditionally, varnish is a combination of Pure Tung Oil Finish 800 a resin, a drying oil and a solvent or thinner. In the simplest formulations, varnish dries by the rapid evaporation of the solvent, allowing the resin to harden.

In more complex formulations, as the solvent evaporates, the drying oil and resin can undergo a chemical change and cure to a hardened state. Chemical cures between the oils and oxygen are called autooxidation. The drying time of different varnishes can be sped up by exposure to an energy source such as ultraviolet light or direct sunlight. Adding heat can also speed up the rate of cure to some varnishes.

Organic solvents, organic oils and certain resins all used as binders can be highly flammable in their liquid state. All drying oils, some single component polyurethanes and some alkyds produce heat while curing. This explains why oil soaked rags and paper can ignite, long after application, if piled and enclosed where the heat cannot easily dissipate. Drying oils like linseed oil and tung oil, though not true varnishes, will cure by the exothermic reaction between oxygen in the air and the polyunsaturated fatty acids in the oils.

These cure much more slowly than the simple process of evaporation of a solvent. They add considerable advantages to the mix: flexibility, long life, better bond, moisture resistance, acid resistance, UV resistance, stability, etc. The formulation needs to take all these into consideration. Alkyds are chemically modified vegetable oils.

These are engineered to speed up the cure rate and function well in a wide variety of harsh outdoor conditions. They may also include ultra violet UV absorbers. This can extend the life of the finish and help keep it glossy longer. It also is the name for the heart shaped leaves of the Tung tree.

Tung fruit grows in clusters of 4 or 5 nuts. The trees have very particular climatic requirements but can be found in China, Paraguay, Argentina and parts of Africa. Written records, including references from Confucius, around BC highlight the qualities of Tung Oil as a protective finish for a variety of materials including wood and cloth. It was used to seal water out of masts and sails, as a furniture finish and even to seal the masonry of the Great Wall.

In , the American Ambassador to China shipped Tung trees to the States but the growing conditions did not support them. Eventually in the s successful plantations were established on the Gulf Coast and became a substantial source of tung oil until when hurricane Camille destroyed the plantations and ended domestic production. As a wood finish, tung oil is a penetrating oil — not well suited to musical instruments as it dampens vibration.

Each luthier of the day had their particular formula for finishing instruments — Each struggled to have the richest color, luster and depth or visual feel. The process of finishing musical instruments was primarily a practical matter: raw wood that is constantly handled becomes caked with dirt and rosin from the horse hair bows. Finishes were essential to protect the wood and allow some degree of cleaning. The Guild system of passing on the knowledge and practices of the Master to the Apprentice was the order of the day.

Stradivari learned his craft as a student to the well known Master Luthier: Nicolo Amati Common instrument finishing techniques were well understood but allowed personal variation for reasons of aesthetics and quality. Thick finishes were understood to limit the vibration of the soundboards and therefore were not desirable. But there is a mythology to the 1, instruments that Antonio Stradivari created approximately survived.

As the instruments built between and are viewed as some of the finest instruments in history for their magical tone, endless research is performed to try to determine how the Luthier achieved his Art. It is known that Stradivari began to modify the designs of the Amati models of his predecessor. The shape and arching was altered, the thickness and recurve of the top, back and sides was more carefully measured and changed and the varnishes were more strongly colored. According to the mythology: Stradivari developed a formula for varnish that so enhanced the tone of his instruments that the secret must be kept from his contemporaries.

To test the theory, electron microscopy was used at Cambridge University to determine the make-up of the varnish as well as the wood preservatives and the sealers used prior to the final finishing. His research focused on the methods of treating woods for furniture and instruments of the day to withstand rot and insect damage. The process, according to Nagyvary, involved soaking in various mineral solutions.

By this theory, the dried, mineral rich tops made ideal stiff and vibrant soundboards. Nagyvary then researched the varnish formulation. He theorized that oil varnishes penetrate deeply into the wood and the oils remain gummy, dampening the vibrating potential of the soundboard.

The Stradivari finishes appear thin, brittle and glassy. He Pure Tung Oil Finish 3d theorized that the Stradivari finishes contained sugars or polysaccharides — creating a stiffer, more brittle matrix that would bond well to the spruce. It was not unusual for documented varnish formulations of the time to have powdered glass, amber or porcelain as additives for stiffness and luster.

His theory holds that pectins make good polymers — the component that makes jelly gel. French polishing is a process — as opposed to a material. In the world of musical instruments it is often referred to a a finish.

The technique involves applying many coats of shellac dissolved in alcohol in very thin layers. The process consists of using a pad made up of absorbent wadding inside a smooth natural fiber cloth. The motions for application are quick and repetitive. The process is labor-intensive and requires time and patience. French polishing came into fashion in the s and remained in-use on fine instruments and furniture up through the s when other options were available that required much less labor.

If you would like to use content from this page, see our Terms of Usage policy. Facebook Instagram Youtube. This has been true since man fashioned his first tools. Lacquer At some point, we found other ways to protect wood and to bring out its natural beauty.

Nitrocellulose Lacquers In the s with the rise of the manufacturing production line, there was a strong need for a quick-drying finish system that would protect all sorts of items including metals and all manner of wood used for mass production. Acrylic Lacquers In the period immediately following World War II, tremendous advances were made in the field of plastics. Polyurethane Lacquers Otto Bayer and his team developed the chemistry at the I.

Polyester Finishes Developed and patented by Wallace Carothers in the s, polyesters are thermoplastic or thermoset. As a chemical cure product, there is no easy way to repair this type of finish. Catalyzed Lacquer Catalyzed lacquer falls between the application qualities of nitrocellulose lacquer and the durability of varnish.

Catalyzed lacquer comes in 2 versions: Pre-catalyzed lacquer — the components are premixed, either by the manufacturer or at the store where you buy it. Post-catalyzed lacquer is a two-part system that you must mix, following precise ratios. Water Based Lacquer Water-based finishes contain some of the same ingredients as varnish and lacquer — notably polyurethane alkyd and acrylic — but water is used to replace many of the flammable and polluting ingredients.

One rather unique characteristic of shellac is that it is entirely non-toxic. Food coating — it is used to coat apples so they look shinier. Hats — to stiffen felt. Electrical — mixed with marble dust to glue incandescent bulb metal bases to the glass. Resin varnish — dries by evaporation of the solvents, though there is still a cure rate between the oils and resins Acrylic and waterborne varnishes — have extended cure periods after the water has evaporated Oil, polyurethane and epoxy varnishes — have extended cures after the solvent has evaporated and as the components chemically interact.

The Traditional Components: Resin : Mostly the sap of trees, including: kauri gum, amber, rosin, copal, sandarac, balsam, elemi, etc. Drying Oils : Linseed oil, walnut oil, tung oil, etc. All versions contain large amounts of polyunsaturated fatty acids. Solvent Turpentine or thinner : Organic turpentine, mineral spirits, white spirits, etc.

More Modern Components: Resin : Synthetic resins like phenolic. Drying Oils : benzoin, mastic, alkyds, etc. Solvents : alcohol or petroleum based solvents, etc. Other Types of Varnishes: Spar Varnishes: also known as marine varnishes, were developed to be elastic and water resistant. The concept was that sailboat spars bend a great deal under the load of their sails. The finish must not become brittle and crack while bending or it would allow moisture through.

Woood Plantentafel 900 Sanding Machine For Wood Manufacturer Live Lathe Tools Northern Ireland Ltd