wood finishing

Finishing manual

Natural finishing supplies for wood

Natural Finishing Supplies Wood is a beautiful material. What could be more natural to protect its beauty than using the finishes provided by nature? Therefore we will present pure natural products for natural finishing in this brochure. No matter whether you will mix the finishes or use them purely – you will always know its content. Vegetable oils Vegetable oils are proven finishes to protect the wooden surface. They are extracted out of vegetable raw materials, e.g. linseed oil is extracted out of linseed, tung oil out of the tung nut, walnut oil out of walnuts or soy bean oil out of soy beans. Advantages of oiled surfaces 1. Breathable: the oiled surface remains breathable and keeps its warm and tactile nature. 2. Hardening of the surface: since the oil takes quite long to harden, it can deeply penetrate and thus harden the surface. 3. No brittleness and cracking: The surface is inured to deformation by extension or shrinking. 4. Easy to repair: slight damages or erosion can be corrected with the same oil by polishing. 5. Lightening the grain: Oils will emphasize the grain of the wood and emphasize its natural beauty. 6. Ecological: Oiled surfaces are very environmentally friendly. Usually drying oils are used that harden when getting in contact with oxygen, e.g. linseed oil or tung oil. The drying is effected by the reaction of the contained fatty acids with oxygen, therefore these oils are often called fatty oils. They can be used purely or reduced. These oils are the basis for many usual varnish. Mostly pre-oxidized oils or drying accelerators are used to speed up the drying. As dilution 2

and aromatic enrichment thin and volatile oils like balsam oil of turpentine or orange oil. Used only pure they are not suitable for the finish of wood. Then there are non-hardening vegetable oils, like Camellia oil. They can be used as polishing oil or antirust agents for metals, they are not very suitable for long-lasting wood preservation. Vegetable oils can be mixed in order to achieve specific characteristics. Drying Accelerator Drying accelerators, also called siccatives, are added to most of the purchasable oil mixes in order to reduce the drying time. The catalytic effect is created by metal joints (cobalt, heavy metals oxides). This way the oil is no longer environmentally friendly. Besides the penetration is reduced by shortening the drying time and thus the long-lasting protection. Therefore we recommend to not add any siccatives. Surface You can oil all natural finished, grinded or polished and dry wooden surfaces. Best suitable with a grit of 180 – 220 and a wood moisture of less than 12°. Open-pored woods like rosewood and wenge should first be treated with grain fillers. Layer composition It is vital to first apply the soft and then the harder part, e.g. first shellak ground then oil and finally wax. If it is necessary to apply several oil layers the first application should be reduced. The following layers should only be applied once the previous one has tried and the finish has been done. Mineral and animal oils In addition to the vegetable oils mineral oil derivates are also used as wood preservation, e.g. paraffin oil, which are usually the basis of many hard oils. Several culture groups traditionally used animal oils, like fish oil. These oils will not be considered in this brochure. Security advice All curing oils can heat up during polymerisation. If the cloth is still wet or oil-soaked a risk of spontaneous ignition is likely! Please store in closed containers or under water. 3

Linseed Oil

Swedish Linseed Oil Ra Linolja®, raw

Swedish Linseed Oil Linolja®, Sun-bleached

Derivation Linseed oil is made out of the seeds of the flax plant (Linum usitatissiFlax seed mum), cold- or warm-pressed or by extraction. It is sold in different forms: pure, as stand oil (heated), preoxidized, as varnish, bleached or resinated with drying accelerators. The Swedish linseed oils we offer are extracted by a gentle cold press. They stand out due to their very high percentage of natural linoleic acids, which accelerate the drying properties. These are pure food safe natural products without any chemical additives. Properties As curing oil linseed oil has ever been the basis of most of the varnishes and wood protection oils. Linseed oil emphasises the grain, protects against moisture and dirt, is easy to use and highly environmental friendly. In the long term an intensification and darkening is to be expected. The surface is hardened by the bonding of Linoxyn and it will become mechanically robust.

Maple surface Left: untreated surface (cleaned with a plane). Centered: treated with Swedish Linseed Oil. Right: treated with Alkanna toned Swedish Linseed Oil

Ra Linolja Since it takes quite long for the raw Linseed Oil to dry (1 – 4 weeks) it deeply penetrates into the wood surface. 4

Flax flower in Sweden

Linolja Once the Linolja has been cold-pressed it is exposed to the sun and thus bleached and preoxidized. Therefore it is very transparent and dries much quicker than raw Linseed oil. (Drying time according to environmental conditions and surface one to several days). Use We recommend the Linseed oil surface especially for interiors: furniture with slight and medium exposure, wooden parts with body contact (kitchen, cutting board, handles, toys, musical instruments) and in sensitive areas (children´s room, bedroom, sauna etc.). Any mixtures with other vegetable oils (with wax or rosin) is possible. But usually the Linseed oil is heated in order to improve the solubility.

Bowl by Wille Sundqvist, Nordic Masur Birch, soaked with Linseed Oil and polished.

Application The application of the Linseed Oil should be done across the grain using brushes or cloths, it should be polished along the grain. Add-on of scented oils To create a pleasant smell 5-10% of Orange oil can be added. Deep impregnation Small objects with high exposure (e.g. handles or wooden spoons) can be deeply impregnated by completely soaking the object for several days into Linseed Oil. 5

Example for high-quality Linseed Oil layer coating Polish the surface (grind 180 – 240), wet with water, let it dry and repolish it with a grind of 240 – 330. First application: heat the Linseed Oil slowly up to 55°C (if possible in water bath) or thin with 20% Balsam oil of turpentine. Let it soak in for 1 hour and wipe it off. Intermediate sanding after drying (about 1 day) with 320 emery cloth. Second till fourth application without thinning and intermediate sanding. After several weeks of drying polish with a lint-free cotton cloth. Polish about 2 times per year with beeswax. Linseed Oil Egg Tempera Whisking the water-insoluble Linseed oil with egg it will be solubilised to a water-soluble tempera. This painting media, which was already famous with renaissance painters, is excellently suitable to make colours (by adding pigments), that feature ageing resistance and wipe resistance. Recipe suggestion (according to Wille Sundqvist): Linseed oil/egg = 1/1 whisk, add one to two parts water, in order to improve the durability add about 2 -5 % balsam oil of turpentine & pigments according to requirements. Consume shortly or store in the refrigerator.

Ra Linolja® 1 liter No. 705354 5 liter No. 705355 6

Linolja® 1 liter No. 705275 5 liter No. 705269

Swedish red, iron-oxide pigment Derivation Original Falun Red was a byproduct of copper mining and consequently had a high heavy-metal content. Today, it is increasingly being replaced by an iron-oxide pigment that is nearly identical in color, free of toxic matter and has a similarly effective protective function. In a water or linseed oil emulsion, it easily becomes a high-yield, breathable, natural color that protects wood from UV rays and pests. Use It defines the landscape of Sweden: The warm rust color of wooden barns, houses and churches not only blends harmoniously with the green of the natural surroundings, it is also an effective wood protector. Recipe suggestions Red protective coat for exterior walls (the oldest color of Scandinavian exterior paint): Pine oil + 10-20% iron-oxide pigment. Fertility approx. 3-5 qm/l. Water-based red paint: 10 l water, 750 g white or rye flour, 3 kg iron oxide, 300 g green vitriol (iron (II) sulfate (can be obtained in pharmacies), 1 l linseed oil, a bit of soft soap. Mix the flour with 2 l water until there are no clumps. Bring 8 l of water to boil. Stir the flour mixture into the boiling water and continue to boil for 15 minutes, stirring continuously. Add the iron oxide and cook for a further 15 minutes while stirring. Add the linseed oil and soft soap (as emulsifier) and cook for a further 15 minutes while stirring. After it has cooled, it may be used (or thinned). 1 liter yields ca. 3-5 m²/l. 1000 g No. 705344 7

Tung-Nuts

Lignea® - Chinese Tung oil Derivation Lignea is a 100% natural product obtained from the nutlike fruits of the Chinese tung tree (aleurites fordii). Due to its excellent protective qualities, tungoil has for centuries been simply known as “wood oil”. Properties Tungoil is relatively viscous and has a distinctive nutty odour which disappears during drying almost completely. Tung oil is absorbed by wooden surfaces very quickly and hardens them after it has dried, making them mechanically stronger and highly water-resistant. It provides approximately twice as much protection as linseed oil. It deepens colours and enhances the contrast of the grain, but the wood retains its natural visual and tactile characteristics. The protective film is elastic, even in the long term, and, in contrast to linseed oil, darkens very little. If the finish becomes damaged, it can be easily retouched by rubbing more oil over the damaged area.

Having oiled the surface the grain will be very much emphasised, above all the contrast between grain-cut and cross-cut timber. The picture shows an ash table top with cones by Charles Beresford, shellac base coat and two layers of balsam oil of turpentine mixed with 10% orange oil.

Use Lignea is suitable to protect wood indoors and outdoors, e.g. for furniture, garden furniture, fences, rust, timbering, espalier, flooring, turned pieces, musical instruments, wooden toys and wooden boats. 8

It can also be used for the protection of cloths and even brickwork (thanks to a complete coat of Tung oil the Chinese Wall has been so well preserved). A thin coat of Tung oil has also proven as anti-corrosion varnish for metals, e.g. low carbon steel, bronze or brazen parts. Lignea is easy to apply – even in several layers – with a brush to cloth. It can be thinned with balsam oil of turpentine or be mixed with other vegetable oils according to the user´s preference. Example of use Ornamental wood (Turnery, carving, wooden jewellery) Tung oil /Camellia oil / Orange oil = 10/1 /0,5 Good penetration, very well polishable and protection against dirt. Outdoors (Wooden decks, fences, garden furniture etc) First layer: Tung oil, Balsam oil of turpentine = 10/1, intermediate grinding. Further two to four layers: pure Tung oil, undiluted. Very good weather protection. Indoors (Floring, stairs, furniture etc) First layer: Tung oil, Balsam oil of turpentine = 10/1, intermediate grinding. One to three further layers: Tung oil/ Linseed oil / Orange oil = 10/2/0,5 or Tung oil/ Beeswax / Balsam oil of turpentine = 10/0.5/1 (first dissolve the Beeswax in Balsam oil of turpentine) or Tung oil/Orange oil = 10/1 very fine and odorant surfaces with very good abrasion and dirt protection.

Stool from Peter Hook, treated with Tung oil mixture

9

Tung oil as grain filler Pure Tung oil can also be used as grain filler. Apply a thick layer and let it soak in without wiping off the excess. Let it dry until it has become viscous. Now rub in the thickening oil with a cloth and take wipe off the excess. Having dried the procedure can be repeated up to five times depending on the necessary density and transparency. Drying time Lignea is not pre-oxidised and due to ecological reasons not mixed with chemical drying accelerators (siccatives). Therefore a longer drying time is to be expected (1/2 day up to several days). The drying time depends on the environmental conditions, type of wood and pre-treated surface. In case of treating medium density fibreboards or similar materials the drying time might be prolonged due to the deep penetration of the oil (and missing contact with oxygen).



Pure Tung oil is quite viscous, the penetration behaviour can be improved by thinning or heating it. We recommend to thin the oil with Balsam oil of turpentine (10% - 50%) when applying it for the first time. Do not apply the Lignea Tung oil in the blazing sun and wipe off any excess maximum ½ hour after application. Do not apply the Lignea Tung oil to wet wood (maximum 15 % wood moisture). The pure and liquid Lignea Tung oil has a nutty odor, which wears off after having dried or if it has been mixed with Orange oil or Balsam oil of turpentine. We do not recommend the Tung Oil for compact furniture like drawers or the inside of closet. In liquid state (during treatment) Tung Oi may cause irritations or allergical reactions when getting in contact with the skin. We recommend to wear protection gloves. Once it has completely dried the oil film is chemically stable and free from harmfull emissions.

1 liter bottle 5 lter bottle

10

No. 705286 No. 705283

Poppy-seed oil Derivation This oil which is extracted from the seeds of the white poppy flower (Papaver somniferum), was ever since the most important natural binder for high quality paint oils and artists colours. Properties Poppy-seed oil belongs to the drying oils. But drying times are very long (up to two weeks per application), the final hardness is less than that of Linseed oil. The main advantage compared to other vegetable oils is, it does not yellow. Multiple coats of poppyseed oil yield a warm, silky gloss and a surface which is pleasant to the touch. Poppyseed oil is food save and can be mixed with other natural oils and paint thinners. Application Thanks to its high transparency poppy-seed oil is the basis for violin varnish and other clear wood protection varnish. It protects against moisture and dirt and tightens the wood surface due to its deep penetration. We recommend it for handcrafted items, turned objects, toys and kitchen utensils. Because of it` s good grip on surfaces it is suitable for kitchen knife and tool handles. In combination with pigments it can be used to make colour oils and artists´ colours. 1 liter bottle No. 705272 5 liter bottle No. 705268 Squirrel hair brush For applying shellac, fine oil varnishes and water colours. Very best quality, made from the tail hairs of Siberian squirrels. Length 190 – 205 mm Head width approx. Head width approx. 13 mm No. 706109 38 mm No. 706111 25 mm No. 706110 50 mm No. 706112 11

Sinensis® - Chinese Camellia Oil Derivation Sinensis is pressed out of the seed of the Chinese Camellia Tree (Camellia Sinensis). It is a pure natural product camellia seeds without any chemical additives. Properties Camellia Oil is a non-drying oil of clear to yellowish colour. It is quite thin, not volatile, food safe and odourless. Use Finishing Applying it to wooden surfaces the low viscose oil will quickly absorb and improves the polishability. It is clear, will not discolour and serves to accentuate the wood’s natural beauty. It does not harden and is thus only a limited protection against Knife handle by Maikal Eklund humidity and dirt. But it can be used to thin viscous wood oils, e.g. Tung Oil in order to improve the application and penetration. Varnish Camellia Oil can be used to oil the cloths when doing French polishing. When polishing oil varnished surfaces pumice powder or triple powder is used as grinding material. In this combination Sinensis oil is also very suitable to clean and polish old varnished surfaces of antiques or music instruments. Corrosion protection Camellia oil is acid-free and not volatile, making it the ideal oil to protect tools, knives and firearms from rust. It is especially well-suited for the preservation of kitchen knives made of high carbon steel. Applying it very thin with a cotton cloths or paper card web will be sufficient.

12

Lubrication Since Sinsensis does not harden and features little surface tension it is very well suited as lubricant of small joints and mechanic parts, e.g. sawing machines, folding knives, toys, fishing reels as well as tools. Body care Camellia oil makes an excellent base for the preparation of lotions, creams and soaps. Used as massage oil it makes the skin smooth. Japanese Geishas have always used it as hair oil. The traditional Chinese medicine grants it to have numerous homeopathic effect. camellia tree



Adding 5% of Orange oil will give the Sinsensis oil an aromatic scent, which is very pleasant when being used as body care of wood finish. Applying it to plane soles, Sinesis improves the sliding on the workpiece area and the penetration behaviour of chisels into the wood. 100 ml glass bottle 250 ml glass bottle 1 liter storage bottle

No. 705280 No. 705281 No. 705282

Polishing and cleaning fabric Finely woven tubular fabric made of tough, lint-free, terry-cloth-like cotton. Ideal for polishing wood and varnish surfaces, for cleaning as well as for packaging fragile items. 20 metres per roll

No. 810008 13

Orange Oil Derivation Orange oil is extracted as pure oil without any chemicals additives from the peel of the sweet orange (Citrus Sinsensis). Properties Due to its intensive and refreshing scent it is used in aromatherapy, as additive in scented oils, bathing oils, creams and soaps. Due to its strongly fat-dissolving properties it is a very effective and ecological cleaning and caring product for wooden and plastic surfaces. It is also suited as dissolver and thinner for oil paints and as paint brush cleanser. It can be mixed with any vegetable oils, e.g. Camellia Oil, Linseed Oil or Tung Oil, to which it lends a pleasant and vitalising scent. Recommended use We recommend to add 5-20% of Orange Oil to Tung Oil if used inside to ease the strong scent. Besides the Tung oil becomes thinner and thus can be better applied and penetrates deeper into the wood. In combination with carnauba wax or beeswax it can make a variety of agents for cleaning and caring for wooden surfaces and leather. Notice Orange oil may cause light-coloured wood or untreated wood surfaces to discolour. The high citrus acid content found in pure orange oil may irritate the skin and mucous membranes. 250 ml glass bottle No. 705277 1 liter storage bottle No. 705278

14

Balsam Oil of Turpentine Derivation The Balsam Oil of Turpentine is obtained by double-distilling the resin of the maritime pine tree. Being one of the most valuable solvents on a natural Pine cone basis it has always been used in painting and handcrafted application. Do not mistake the Balsam Oil of Turpentine with the so-called “White Spirit”, which is a mineral oil product. Properties The thin oil is colourless and has a fresh essential scent. It residue-free volatilizes from the respective painting when drying. Normally the drying time will be increased when adding the Balsam Oil of Turpentine, as the oil penetrates deeper into the wood. Use We recommend to use the Balsam Oil of Turpentine to thin vegetable oils (Camelia Oil, Tung Oil, Linseed Oil, Pine Tar Oil etc) and oil paint, varnish, paint base as well as to dissolve rosin and wax and to produce lacquer and polish. It can also be used as cleaner for brushes or cleanser. Notice Please observe the normal safety precautions for the use of volatile solvents containing hydrocarbons. Extensive applications inside are only to be made when adequate airing and drying-out time is provided. Allergic reactions are possible when getting in contact with the mucosa. Balsam Oil of Turpentine should be stored lightproof. It is perishable when getting in contact with oxygen.

1 liter storage bottle No. 705288 15

Worth reading Oberflächenbehandlung von Holz No. 713739 Classical techniques and formulas, by Sam Allen. Treating wood with oils, resins and waxes makes wood easier to care for and accentuates its natural beauty. Sam Allen has compiled all the traditional methods and recipes for treating wooden surfaces. In addition to a very thorough description of French polishing with shellac, Mr. Allen also addresses the use of varnishes, oils, waxes, abrasives, stains and casein based paint. 128 pp., 165 colour illustrations, hardcover, 210 x 255 mm, in German.

Behandlung von Holzoberflächen By Derrick Crump. Nothing is more disappointing than a complex surface treatment which does not have the desired result. This book helps you avoid mistakes with a thorough introduction to the chemistry of stains, paints, oils and waxes and their correct use, as well as surface preparation. 176 pages, over 300 illustrations, hardcover, 197 x 272 mm, in German.

No. 713360

Naturfarben Handbuch The authors of this book have dug deeply into nature’s bag of tricks to come up with this collection of the best natural paints and glazes for finishing wood. The properties of various natural pigments, binding agents and solvents are provided along with numerous recipes and finishing techniques. 190 pp., numerous colour illustrations, hardcover, 190 x 290 mm, in German.

No. 713253

16

Vom Färben des Holzes No. 713757 By Hans Michaelsen and Ralf Buchholz. Almost 2000 historical recipes suitable for staining and coloring wood, ivory, bone, horn and straw. To facilitate a better understanding of these antique recipes, several of the techniques they reference are additionally described and detail descriptions of the properties of various ingredients are also provided. 220 x 229 mm, 800 pages, hardcover, 387 color and 231 b/w illustrations, in German.

Handbuch Möbel aufarbeiten By George Buchanan. Buchanan guides readers through restoration cases of varying difficulty step-bystep: from easy to restore tables, to chairs, chests of drawers or almost destroyed pieces. A well-illustrated reference work for beginners and professionals. 300 pages, approximately 1000 drawings and some colour panels, hardback, 170 x 240 mm, in German.

No. 713860

Intarsien No. 713721 Techniques and design step-by-step, by Jack Metcalfe and John Apps. This technical book promises an easy introduction to the art of inlays. In addition to presenting a wide range of materials, tools and techniques, the path to completion is explained in twelve courses. The many objects, with instructions on how to make them yourself, give you ideas to deepen your newly acquired skills. 176 pages, 386 colour illustrations, softcover, 190 x 248 mm, in German. 17

Swedish Pine Tar Oil Derivation Tar oil, extracted from the tar-rich rootstock of pine trees by charring and careful distillation, is one of the oldest wood-protecting agents. Properties The thick oil has a strongly smoky aroma, dries very slowly and deeply penetrates into the raw wood. It provides a long-term protection against decomposition, fungal or insect attack. Depending on the distillation the oil has a light brown to dark brown colour, which gives the wood a beautiful, antique patina. The oil can be mixed with Linseed Oil and dilutable with Balsam Oil of Turpentine. Adding iron-oxide pigments an original Swedish red paint can be achieved (see page 7). Application In Scandinavia it has been used to coat houses, shingles, fences, equipment, sleighs and boats for hundreds of years. Pine-tar oil is ideal for protecting the handles of axes and other equipment, since it allows the wood to breathe and improves the grip.

Furutjära® pine tar A very rich and thick oil of dark colour. Given this oil's strong, smoky aroma, we recommend it only be used outdoors. 1 liter No. 705347 5 liter canister No. 705349 18

Dalbränd Tjära® fine pine tar This high-quality wood tar is somewhat lighter and thinner than Furutjära pine tar and emphasises the grain more. 1 liter No. 705351 5 liter canister No. 705352



To reduce the smoky scent we recommend to add the Orange Oil and singeing after drying when applying it inside.

untreated

treated with Furutjära®

treated with Dalbränd Tjära®

Wood shingles on a Swedish church preserved with tar oil.

19

Rosin and Wax Shellac Derivation The base of shellac is an exudate of secretion from East Indian scale insects (Coccus lacca), which is processed to a thin rosin. The qualities differ according to the purity, wax content and coloring. In order to Hand-polished shellac table by Robert Zerzawy apply the shellac it (Ebony, amboyna-burl inlaid) has to be dissolved in alcohol. Properties Shellac is notable for its hardness, transparency and bonding strength. Its excellent insulative properties make it the substance of choice for use in traditional gilding (as a primer coat and fixative). French polishing is an incomparable way of bringing out the beauty of the wood. It creates a mechanically wear-resistant, physiologically compatible finish that does not become brittle and is of constant colour. Defective torn parts can be easily repaired by polishing. Shellac surfaces can be corroded by chemical cleansers or alcohol, but are quite insensitive to water and moisture. Application We recommend to produce a liquid solution as follows: 1/1 till 1/2 with alcohol (pure ethanol, at least 96 %). The full dissolution of the wax can take several days, depending on the temperature. Stir the solution well at least 4 times a day. The most important additive of French polishing is the cloth rubbing pad. It consists of a wool centre, wrapped in a lint-free cotton or linen cloth. The polishing and cleaning fabric (see page 13) has proven as very useful (it can also be used without the wool filling). For each polishing a separate cloth is necessary.

20

The composition of the shellac surface consists of the following steps: Basic polishing: porefiller with shellac and pumice powder. Cover polishing: the layer structure is to be achieved in several rounds with intermediate drying until a compact surface has been achieved (approx. 2 – 6 layers, depending on the wood and pretreatment). Polishing: mix the shine polishing with a light solution, possibly with benzoin rosin or benzoin paint. The exact procedure would be too detailed for this brochure. It can be best thought in one of our workshops (please see our brochure). French polishing is also very well suited to be used as base coat for oily or wax surfaces. It hardens the wooden surface and prevents it from volatilising. The shellac solution cannot be mixed with other oils. Therefore the shellac base has to dry well before the oil is applied. Astra shellac - Bleached, highly transparent shellac, for clear polishes. 250 g No. 810030 1000 g No. 810031 Komet shellac - Orange-coloured shellac for polishes that display a slight tinge. 250 g No. 810034 1000 g No. 810035 Superior shellac - Reddish shellac for polishing with marked tinge and for accentuating the grain. 250 g No. 810037 1000 g No. 810038 DVD: Introduction to French Polishing No. 713753 Peter Zehmisch, a master furniture restorer, describes the French polishing process in detail, relying on his many decades of experience working the field. All of the individual steps surface preparation, pore-filling, padding and final polishing - are discussed in detail. Approx. 21 minutes, in English. 21

Urushi (Authentic Japanese Varnish) Derivation It is made from the natural resin of the Asian tea tree (rhus vernicifera) and has been used in Japan to protect and lend a beautiful gloss to furniture, bowls, boxes, handles and jewelry for over 6,000 years. Properties Once fully hardened, Urushi varnishes are resistant to water, heat, alcohol, acids, bases and solvents. In addition, Urushi varnishes are not susceptible to wear and are 100 % natural. Any number of coats can be applied, without the risks of cracking or granulation. Urushi can be applied to almost any surface, including wood, clay, fabric, paper, metal or plastic and can also be burned on. Application Japanese Urushi embodies the art of varnishing in its highest form. It can be used for varnishing newly made objects as well as for restoring antiques and can also be used for setting inlays. Colored Urushi can either be used directly out of the tube or made by mixing pigments into transparent Urushi. Note: It requires special varnishing techniques and must be dried at a constant humidity. For a single varnish coat, primer, pore filler (Tonoko), Urushi and Tsunoko polish are required. Balsam turpentine can be used to thin Urushi. Comes with instructions for use, which can also be looked at in our webshop www.more-than-tools.de at the corresponding article. Urushi can cause skin and mucosa irriations when being liquid (not when having dried).

Urushi (100g-tube) Primer transparent (Ki) Varnish transparent (Jo-Shuai) Varnish red medium Varnish black (Jo-Kuro) 22

No. 716240 No. 716241 No. 716242 No. 716243

Handicraft courses Handicraft at its best – the more than 200 courses are held by highly qualified tutors. Kindly ask for the complete free workshop brochure at www.more-than-tools.de Surface finish (2 days, approx. 16 hours) Content: finishing of wooden surfaces with traditional materials like wax, oil and rosin. Choosing the right finish is often very difficult – even for professionals. We will demonstrate which finish is most suitable for the various kinds of wood and how to use them. In German. Acoustics and lacquering for making a violin (4 days, approx. 32 hours) Content: introduction to lacquering, the necessary raw materials to prepare the lacquer, preparation of lacquer, spirit lacquer, oil lacquer, prestaining, staining. Application of the basic lacquer and the coloured licquer, polishing of the lacquer. Various methods of analyzing and affecting the frequencies of the wood: picking, Fuhr method with glass tubes, Hutchinson method with frequency regenerator etc.. In German. French polishing (3 days, approx. 24 hours) Content: material science, preparation of the lacquer and surface, making of the cotton cloth, polishing of a board (60 x 80cm) several times (basic polishing), cover polishing and special technology. During the drying time you may discuss difficult cases, sources of error and questions regarding restoring (you may also bring your own furniture with you). In German. 23

Propolis 100 g No. 810012 Derivation Propolis is a rosin which is secreted by the gland of honey bees in order to glue combs. Properties The resinous cement collected by bees to stop up crevasses in their hives has been used by humankind since ancient times both as a natural medicine (for its anti-inflammatory, antibacterial and antiviral effect) and as an ingredient in fine wood varnishes and oils. None other than Stradivarius used propolis to improve the flexibility, durability and visual appearance of his varnishes. Propolis also has a very pleasant aroma, attributable to the pine and poplar resin it contains, which makes it an excellent way of enriching any homemade finish. Application In addition, its natural antibacterial and antifungal effect makes propolis, in combination with a food safe oil (e.g. our Swedish linseed oil) the perfect choice for treating wooden household objects which come in frequent contact with the skin, such as kitchen utensils, cutting boards, sauna and bathroom furniture and children’s toys. Pure Propolis Varnish Mix 300 - 400 g of propolis with 1 liter of high percentage ethyl alcohol (spirit alcohol 98% or stronger). Let the mixture steep for 8 - 14 days, shake several times a day. Pour the dissolved solution (without dregs) off and filter it (e.g. using a doubled nylon stocking). The resulting pure propolis varnish can be applied directly to wooden surfaces. It hardens relatively slowly and yields a yellowish brown color. Tincture This pure propolis-alcohol solution, once mixed with 70% water, has proven to be an effective “tincture” for medicinal use (to treat wounds and as a disinfectant, pain reliever and immune system booster).

24

Marple-surface Left: untreated (finished by plane). Right: varnished with Propolis-Linseed Oil varnish

Propolis-Linseed Oil Varnish Ratio by weight of linseed oil / beeswax / propolis = 8 / 2,5 / 4. This recipe yields a high quality, pleasant-smelling and ecologically friendly varnish for wooden objects which come in frequent contact with skin, e.g. children’s toys, bathroom and sauna furniture, kitchen utensils, wooden spoons, etc. We recommend using a linseed oil which is free of chemicals, such as our Linolja oil (No. 705275). To make the varnish, first warm the linseed oil to ca. 60° - 70° C and dissolve the propolis in the oil. Next, filter the solution and mix the beeswax into the warm solution. To improve the varnish’s resistance to water, 10 - 50% Chinese tung oil (Lignea, No. 705286) may be used. The hardness of the varnish can also be increased by replacing some of the beeswax with the harder Carnauba wax (No. 810009). Russian Varnish Ratio by weight of linseed oil / beeswax / propolis = 4 / 1 / 2. A variation of the varnish described above which displays a higher degree of hardness, primarily used for restoring antiques or objects subject to heavy wear. Directions as above. Hardening Addition of resins such as mastic, sandarac or shellac will increase the hardness of the varnish coat and make applying the varnish easier. De-Waxing The wax dissolved in the propolis-alcohol solution can be removed if a finish with a higher degree of hardness is desired. Simply cool the solution until the wax solidifies at the surface are remove it from the solution. Hardening Addition of resins such as mastic, sandarac or shellac will increase the hardness of the varnish coat and make applying the varnish easier.

25

Beeswax The secretions of the glands found on the abdomen of the bee, known commonly as beeswax, have been used since ancient times for gluing, polishing and preserving wood. Research has shown that the planks which made up the hulls of Punic warships were treated with pure beeswax almost 2000 years ago to protect them from the corrosive effects of saltwater. When slightly heated (max. 70° C) and in its pure form, beeswax can be used to penetrate and treat many types of wooden surfaces. Beeswax can be mixed with oil, alcohol or turpentine to produce a variety of polishing and cleaning pastes and liquids. A well-proven finish consists of a primer coat of linseed oil and single or multiple coats of a 1 / 3 mixture of linseed oil, turpentine and beeswax. Surfaces treated in this manner have a beautiful, satiny appearance, are relatively resistant to wear and can easily be retouched and refinished. Apply the wax solution in a thin coat and polish immediately, across the grain. 500 g No. 810006 1000 g No. 810007

Paraffin wax Extracted from mineral oil, paraffin wax is colourless, solvent-free, and water-repelling. It is used for sealing end grain, in wood turning, for mixing with beeswax, as a preservative for wood and metal, and for lubricating moving parts (e.g. plane soles, thread box). 1000 g No. 810016

Carnauba wax The leaves of the carnauba palm native to Brazil secrete a greyish-yellowish protective wax known for its hardness and excellent physiological properties. This carnauba wax is often used in cosmetic products and can be used to add hardness to beeswax polishes, improving their resistance to wear and glossiness. Carnauba wax is also well-suited for lubricating moving wooden parts and protecting metal 26

parts from corrosion (similar to beeswax). The wax offered here is unbleached and has a melting point of approximately 90° C. A recommended wax polishing paste: carnauba wax / beeswax / turpentine: 1 / 2 / 2. 500 g No. 810009 1000 g No. 810010

Yew vessel made by Lüder Baier, waxed and polished.

Kirjes® natural oil wax The wax of the bearberry (arctostaphylos uva ursi) makes the organic Swedish finishing wax from Kirjes® a high-quality, organic wood protector. After sanding, apply (preferably warm) to the wood surface, rub it in with a scrub brush and polish it with a cloth. It emphasizes the wood's natural beauty and protects it from dirt and moisture. Drying time is 2-4 days, and within 2 weeks it hardens completely. Other ingredients include beeswax and Swedish linseed oil. It is free of chemicals and solvents. 300 ml No. 705356

27

-HolzBalsam Through and through natural for a silky gloss: Wax for reserving wood. Contains a high percentage of all-natural bee wax. HolzBalsam contains pure natural ingredients which preserve the wood. It is free of chemical substances, mineral oil derivatives and drying activators. The ideal natural preserver for toys, kitchen equipment, turned wooden objects, wooden furniture, wooden floors, carved items and all handicraft objects. Valuable substances out of nature underline the beauty of a wooden surface with a silky smooth touch. The pleasant smelling palm made of ingredients such as bee wax, carnauba wax, linseed oil, tung oil and orange oil not only preserves normal wooden surfaces. It is easily spread on cork, smooth leather and metal for protection against moisture. 300 g No. 705350

Natural dyes Alkanna root Derivation The alkanet root has long been used to produce red to reddish-violet alkannin dyes. The granulate offered here is obtained from the lower bark and root of a borage-like plant (alkanna tinktura) native to Europe. Properties The dying agent present in alkanet root dissolves well in oil or alcohol and bonds well to organic materials, such as silk, cotton, leather, wood, skin and hair. For this reason, it is particularly suited for colouring wood oils and oil varnishes. Use The dying agent is going to be extracted by preparing a dissolution of the chips in ethyl alcohol (10g – 20g per 100g alcohol), constantly stirring and finally filtrating. This concentrated dissolution can be added to the oil as needed. Another method is the direct boiling of the root granule in linseed oil. Put the chips into a linen bag and then into the linseed oil, max. heated up to 80°C. The intensity of the 28

dying depends on the duration, temperature and stirring. The extracted coloured oil accentuates the wood´s natural beauty of all bright wood and prevents it from becoming yellowish, which is a typical side effect of linseed oil (formula according to Mr councillor of commerce Hartl, conservator in Laxenburg, Vienna). 100 g No. 810024

Dragon´s blood Dragon's blood resin is obtained from the fruit of the Asian Daemonorops draco tree. Dissolvable in spirits or water, it delivers a striking blood-red stain that can be used to color violin varnishes, oil varnish or watercolors, as some examples. It can also be used in its pure form. 50 g No. 810021

Benzoin Derivation The pure benzoin tears ('almonds') offered here are harvested from Styrax trees in Siam. Incisions made in the tree's bark cause sap to exude, which hardens upon exposure to air. Properties Benzoin is a mid-strength fragrant resin. Due to its pleasant, vanilla-like aroma, it is a favoured ingredient in perfumes (Chanel No. 5), aromatic oils, ointments and incense. Due to its anti-inflammatory and antibacterial effect it is also used in naturopathy. Use To produce the lacquer a lotion is made by dissolving the benzoin in ethyl alcohol (40g benzoin per 100g alcohol). This lotion is going to be added after filtration to vegetable oils. It improves the brushability and gives the oil a pleasant scent. When worked into a varnish, benzoin creates a glossy finish for shellac surfaces or high-quality oil-varnished surfaces. 100 g No. 810023 29

Additive Soda For hardening leather and other purposes, such as forming bone plates or wood veneers. The alkaline properties of soda (natrium carbonate) also render it useful for removing greasy residues, cleaning and bleaching, and it is used in the manufacture (maceration) of colours and stains. 500 g No. 810022

Polish Pumice Powder Fine, white powder for smoothing the layers of a finish, e.g. for French polishing or as a pore filler (pumice becomes transparent when mixed with shellac). Made of pure siliceous rocks. Used with water or paraffin oil. 250 g No. 810050

Equipment

French Flat Oil Brush Hand-made in a traditional brushmaker's shop in France for high absorption capacity, shape stability and even flow. The hand-sorted Chungking bristles with uncut, naturally split ends ensure a high capillary effect and form a dense brush head which allows a controlled flow. Slightly dome-shaped head for even application without overlapping. Nickel-plated ferrules, stained beech handle. Length approx. 240 mm, head width 50 mm No. 706181 30

Natural Finishing Supplies Starter Kit, 11-piece set Basic set with great price advantage consisting of natural oils, waxes and resins for mixing your own finishes. An attached brochure guides through the process. Delivered with a French flat oil brush for easy application. Contents: • Linolja, Schwedish linseed oil (705275) 1 Liter • Lignea, Chinese tung oil (705286) 1 Liter • Turpentine oil (705288) 1 Liter • Pure orange oil (705277) 250 ml • Sinensis, camellia oil (705280) 100 ml • Flat oil brush (706181) width 50 mm • Pure bee wax (810006) granulate, 500 g • Carnauba wax (810009) 500 g • Benzoin (810023) 100 g • Alkanet root (810024) 100 g • Komet shellac (810034) 250 g No. 705299 DICK GmbH · Donaustr. 51 · 94526 Metten · Germany Tel: 0991-9109-902 · Fax: 0991-9109-802 www.more-than-tools.de · [email protected] All finished described in this brochure can be bought directly from us (please ask for our free catalogue or have a look at our webshop). Making varnishes and finishing wood are sensitive endeavours. We can not guarantee the quality of the results. We therefore recommend that you test your varnishes prior to use to establish the color, mixability and drying times. The content of this brochure is subject to copyright. The general terms and conditions of our catalogue shall apply.