Final finishing of wooden products. Wood polishing Proper wood processing
Man learned to process wood many centuries before new era. The ancient turner had a primitive machine at his disposal, on which he could only work with an apprentice, who rotated the part being turned using a manual drive. Only much later did a more advanced machine, powered by feet, appear.
Ancient turners, despite the fact that they worked on primitive machines with beam transmission, used the most complex and labor-intensive technology for manufacturing turning vessels. Novgorod woodworkers sharpened dishes not from the end, but across the grain. This method of turning made the dishes stronger and more fully revealed decorative properties wood. First, the master made a blank. He split a ridge, the height and thickness of which should have been the same. The ax cut half of the ridge, giving it the approximate shape of a truncated cone or hemisphere. Then the workpiece was strengthened on a lathe and processed. On finished product wood fibers created a unique original drawing. Even alder wood, which had little expression when edge-turned, revealed an interesting textural pattern, while ash and maple wood acquired an iridescent silky sheen.
Modern machines make it possible to sharpen any type of wood, the choice of which depends on its physical and mechanical properties and purpose of the product. Physical properties are gloss, color, texture and moisture, mechanical properties are strength, elasticity, ductility. From oak, walnut, juniper, mahogany, pine and cedar, having beautiful texture, they sharpen mainly decorative items that are not painted, but only covered with a layer of transparent varnish. The natural beauty of such wood is best decoration turning work. Products are turned from linden, alder or birch, which are then painted with gouache, watercolor, tempera, aniline dyes, and decorated with burning or carving.
Both dry and wet wood can be processed. But still, for turning, it is preferable to use well-dried wood, which does not produce lint when polished. At modern woodworking enterprises, automatic and semi-automatic lathes are used to turn a large number of identical parts. They produce reels, balls, pins and handles for various instruments. But artistic and decorative items and dishes are turned only on manual machines. Long parts are turned on a lathe with a tailstock, small lathes are turned on a machine with a tubular chuck, in which the part is fixed only on one side. This makes it possible to select hollow volumes from the side of the free end. It is convenient to sharpen plates or bowls with a small diameter on a faceplate - this metal disk with holes for screws, with which the wooden piece is tightly attached to the disk. On stationary machines, a faceplate with special clamps is used.
On all manual machines, wood is processed using simple manual
ny incisors. For rough rough processing of the workpiece, semicircular cutters are used to give it a cylindrical shape. Flat cutters, called jambs, are used for fine turning of the outer surface of a product. These cutters can be easily made from ordinary chisels or from flat files, grinding off the notch from them. Cutters with hook-shaped blades have long been used to process internal surfaces. Turners simply call them hooks. Half-round and hook-shaped cutters can be forged from carbon steel. If you make such cutters different sizes, they can be processed inner surface of various sizes and configurations. Many turners work with cutters, which are a metal ring welded to a bar.
Turning wood from the end is more common than turning it across the grain. For such turning, workpieces in the form of bars with a square cross-section are used. They trim the block with an ax, trying to give it as regular a shape as possible. cylindrical shape. The hewn workpiece is driven into a tubular chuck, placing it strictly horizontally. Turning on the machine, take a wide semicircular cutter. The handle of the cutter is held in the right hand, and with the left hand the metal part of the cutter is pressed against the tool rest. The cutter is held at approximately an angle of 15-
30 to the axis of rotation of the workpiece. Remove the chips by gently touching the blade.
The cutter is passed several times along the entire length of the workpiece until it acquires a strictly cylindrical shape. When making a hollow product, such as a pencil holder, the cavity is first ground out using hook-shaped cutters or rings. In this case, the tool rest is turned towards the end surface of the cylinder. Having chosen the cavity, they begin to work out the external forms. But first, markings are made with a flat cutter, applying shallow but clearly visible marks to the surface of the cylinder with the tip of the cutter. If they work according to a sketch, then the markings are made with a caliper, and during turning they control the thickness of the product. Focusing on the risks, use a flat cutter to remove chips from the middle of the blade or its lower part (heel). First, the generalized shape of the product is turned out, and then individual details are worked out.
Without turning off the machine, the turned product is ground and polished. First, sand with coarse sandpaper. abrasive coating, then with small ones. Wood can be polished or polished with wood shavings or dry horsetail. Horsetail can be bought at a pharmacy. Wood is well polished with horsehair. Since ancient times, wood was also polished with bast or bast, which is why the old masters called the polishing operation itself basting.
Here, on the machine, the product can be varnished or wax mastic, which are applied to the surface with a swab and polished.
Having finished finishing, the product is trimmed and trimmed.
Having mastered the technique of turning from the end, you can try your hand at a more complex technique of turning across the grain. Modern masters and now this technique, so widespread in ancient times, is often used. As a rule, they set themselves mainly purely decorative tasks, making, for example, wall plates from wood coniferous trees. The best material They are considered floorboards, which can always be obtained, since many old dilapidated houses are now being demolished, especially in areas of mass construction in large cities. Over time, pine floorboards acquire a rich golden color. Brown color, making etching and tinting of wood unnecessary. In addition, you can be sure that a decorative plate made from such material will not crack or warp. Instead of floorboards, you can use any other pine board that is suitable in size and well dried.
An interesting decorative effect can be achieved by using glued blocks for turning. Several boards are glued together like this. so that each layer of the next plank goes across the layers of the previous one, just as veneer sheets are glued together when making plywood. If you glue together several triangular prisms, as shown in the figure, then from such a blank you can turn a vessel that imitates a cooper's product. To make glued blocks, you need to select wood with a pronounced texture and color.
One of the most complex types finishing works for wood products, is the process of polishing them. But this is necessary action, as a result of which the coating becomes transparent and very beautiful. After polishing, you can enjoy the pronounced texture of the wood, as well as its shades.
Polishing helps the wood maintain its natural appearance, and the surface gives a mirror-like shine. About twenty years ago this method was very actively used when polishing wooden interiors cars, various luxurious pieces of furniture made of wood. In this way, the beauty of the wood was emphasized without the use of varnish.
Wood is polished at home, only with the help of a special composition called polish. This solution has its own advantage over conventional alcohol-containing varnishes, and it lies in the fact that the polish contains approximately three times less resin. This allows you to do decorative coating very thin and mirror-transparent.
Types of wood for polishing
The fact is that not every wood can be polished. Large-grained trees such as oak or pine are completely unsuitable for polishing. While wood from mahogany, apple, pear and maple, hornbeam and boxwood, birch is considered fine-grained and ideal for polishing.
Polishing and its compositions
Nowadays, there is a huge variety of polishing compounds on the shelves in construction supermarkets. But it won’t be difficult to make such a composition yourself. The most commonly used polish is shellac polish, which can be easily prepared at home.
To prepare it you will need crushed shellac resin, approximately 60 grams. The next ingredient in the future mixture will be alcohol. However, there is no particular difference between ethyl and wine alcohol. The main thing is not to forget that the alcohol strength should be at least 90, but not more than 95 degrees, in a volume of 500 milliliters.
The solution is prepared in a glass or ceramic container with a lid, into which you first need to pour the resin, and then carefully pour in the alcohol and close it tightly. It is imperative to stir the composition periodically until the shellac resin is completely dissolved in alcohol. When this happens over time, the resulting mixture must be passed through a filter, while pouring into another clean container.
Stages of polishing work
Sanding wood
The polishing process itself is carried out in three rather complex stages.
Stage No. 1
At the first stage, before polishing, it is necessary to prepare the surface:
- sand the wood;
- remove all dust and lint from it;
Stage No. 2
The second stage will be priming the prepared wood. It must be carried out using varnish and a woolen thread swab or, in the absence of one, you can take a cotton one and wrap it in linen cloth. Why should you choose linen fabric? Because only this fabric does not leave small fibers. Cotton fabrics are absolutely unsuitable for this process, as they leave fluff, which is unacceptable during the polishing process. Remaining on the surface of the wood, they will noticeably damage appearance products.
Waxing wood
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Proper wood processing
Stage No. 3
The last step in polishing wood at home is polishing.
If you correctly follow the wood polishing technology described above, the final result of the work done will have an excellent appearance.
If the polishing layers are reduced or the workpiece is not completely dry, the polishing turns out to be of poor quality and cloudy.
If you have no experience in polishing, it is recommended that before starting work with the main product, you practice on something small and not very valuable. This needs to be done in order to practice a little, understand the subtleties and complexities of the entire polishing process and not spoil the main product.
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Video: How to polish furniture
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After turning the outer profile of the product and boring its internal cavity, usually using a deep-grooved chisel, I scrape the surfaces: external one the same with a chisel in the “shear scraping” mode, and the inner one with a scraper with a negative rake scraper. If healthy wood, after careful scraping, needs to be sanded with sandpaper of only one grit P220-320, then damaged wood with all the above features often requires sanding with coarser-grained sandpaper, which I do, depending on the conditions, both dry and with water, both by hand , and using a drill and a Proxxon angle grinder with homemade disc attachments (photo 5). I will note in passing that a serious drawback of the latter is the dangerously high unregulated speed of 13,000 rpm, but there is nothing more suitable for grinding bowl cavities on our market. I try to remember an important principle: the more you grind, the lower your turning skill.
photo 5
I transferred to turning products the finishing technique that I had previously used when working with small plastics and furniture and which I became acquainted with back in the 90s in three fundamental manuals by B. Flexner, J. Jewitt and M. Dresdner (USA). I learned early on main principle– neither oil nor wax can be considered reliable protection wood products - varnish only. This is especially true for functional turning products, which are sometimes subjected to intensive practical use. I tested many different varnishes and, of course, I could not help but settle on the most perfect of them - water-based. I simply cannot use others in my city workshop because of the smell, not to mention their other shortcomings. The advantages of water-based varnish are:
1. environmental friendliness and absence of unacceptable odor;
2. high wear resistance;
3. quick drying (20-30 minutes without heating) and re-coating after 2-4 hours;
4. lack of yellowness over time;
5. Lightly wash the brush with water, preferably with soap.
Water-based varnish, however, has one serious drawback - it hardly “highlights” the wood, that is, it does not give it an amber tint, depth and richness. In some cases, this is not necessary, for example, when working with light wood, yes still rotten, lost in depth and decorated with multi-colored lines and spots. Traditional solvent-soluble varnishes can sometimes turn this range into shades of brown, i.e., deplete it. However, in most cases, I first “highlight” the wood by soaking the treated product with boiling oil (usually drying oil). ) using an industrial hair dryer. Oiling is considered. in the best possible way manifestations of texture. I first test the effect of impregnation on unnecessary pieces of wood. I’m not always sure that the oil has had time to dry properly, especially since sometimes I’m in a hurry, and therefore, to be sure, I cut off the oil with a 10% shellac solution, quickly drying the last one with a hairdryer. Shellac is remarkable because it fills pores, fits well on any surface and you can layer anything on it. I’m not concerned about the presence of wax in it, which supposedly reduces the adhesion of varnishes to shellac, since this is most likely a fictitious problem:
Often I sharpen wet wood, the products from which then dry from a week to a month. At the same time, they, of course, warp to one degree or another, which in most cases I do not attach of great importance. After drying, the unevenness of the surface sometimes increases, so you have to go over it again with sandpaper, usually P220 grit. Next I move on to applying a water-based varnish coating.
Self-priming water-based varnish is an emulsion of two water-insoluble resins - acrylic, which ensures the plasticity and adhesion of the varnish, and polyurethane, which gives it high hardness. Over the past 20 years, I have tried water-based varnish from different manufacturers (Belinka, Petry, Tikkurila, etc.) and I see how its properties improve over time: it has become more transparent, thixotropic (does not drip), has stopped bubbling even with strong heat, etc. . I'm buying Decoration Materials not in stores, but in warehouses supplying products to professionals, last years giving preference to matte (40%) water-based varnish AF-72 Sayerlack, Komplekt LLC (http://www.sayerlack-komplekt.ru). Previously, I contacted the Nison company (http://www.nison.ru/) with a larger assortment of paints and varnishes, but it was more difficult to buy in bulk there. I also tried the glossy variety of varnish AF-72 (90% gloss), but I liked it less than the matte one: it has too much shine, a thinner consistency, and therefore the build-up I need is slower thick layer, and it also seemed (perhaps it only seemed) that it was bubbling more under the stream of hot air.
On initial stages applied varnish to the products in the same delicate manner as to furniture - in thin, even layers, avoiding overlapping and excessive leveling, in general using up to 5 treatments, or even more, of course, with intermediate drying and sanding. However, as my turning technique improved, the cost of finishing the surface of products began to far exceed the cost of turning itself. In addition, repeated sanding of varnish with folded sandpaper, especially inside deep bowls, disfigures the fingers right hand: the skin disappears from them in places, as does part of the nails, painful growths appear and eventually the product begins to become dirty with oozing blood. I was forced to reduce the number of surface treatments to two or three and simplify (roughen) the varnish application technique.
Using a synthetic flat artist's brush, I apply the first thin layer of water-based varnish to the surface of the piece, often oiled and coated with shellac, and smooth it out. I turn it on industrial dryer and blow the product from a distance depending on the temperature of the jet. I have three hair dryers (photo 6), two of which are relatively new from leading European companies and have perfect heat control, but they work very poorly. The third American one, manufactured in the late 70s of the last century, is reliable to use, without any adjustments, with an outlet temperature of 350°C (middle one in the photo).
photo 6
I maintain a distance of 20-50 cm with a temperature on the surface of the product of approximately 50-100 O C. The specification for the AF-72 varnish (http://woodperfect.ru/specaf72) recommends a blowing temperature of only 35 O C. However, the varnish, as generally well tolerated elevated temperature blowing and dries in 2-3 minutes. no blistering, peeling or cracking. If they sometimes appear, it means it is overheated. I immediately clean it with sandpaper, cover these places with varnish and dry it. On average I apply 3-5 thin layers of varnish depending on the quality of the surface. The idea is this: quickly and roughly build up a thick layer of varnish and fill in small defects on the surface, and then thin this layer by sanding to the required minimum. You cannot layer the varnish in thick layers, as forced drying will inevitably cause the above-mentioned coating defects to appear. Although the varnish can be sanded after 4 hours, I almost always leave the pieces until the next day to allow for complete curing. In the city workshop, sometimes, if I’m in a hurry, I put the products on the radiator.
After drying, I carefully sand the varnished surface with P220 sandpaper. At one time I was fond of the new mesh skin Abranet (Mirka), but then abandoned it due to its high cost, the frequent lack of the required grain size in retail sales and the adverse effect on the skin of the hands. I switched to paper skin P220 with a foam base from Smirdex (http://www.bia.su/good/9956/) (photo 7, yellow roll). You could, of course, take a similar product from Klingspor (the segment on the right in photo 7), but it is poorly presented on the Internet and is more difficult to buy.
photo 7
This type of sandpaper turned out to be extremely convenient and skin-saving, which is especially important when sanding internal cavities turning products. It is more difficult to sand through a thick layer of varnish than a thin one, but if this does happen, then in order to avoid the appearance of a noticeable light spot, I lubricate this area with a shellac solution. If there are a lot of such places, I cover the entire surface with shellac and quickly dry it with a hairdryer. Using brushes, I remove traces of the white powder that has formed in the recesses. The surface of the product is ready for re-processing.
I apply a thick layer of varnish again, dividing it into an average of 3-5 stages, with intermediate quick drying with hot air and set aside until the next day. After this, a choice appears: you can either proceed to finishing micro-grinding and polishing the surface of the product, or continue with your described finishing operations, i.e. Apply a thick layer of varnish again. Often, two cycles of varnishing are enough to eliminate small dents, burrs, hairiness and other defects on the surface, which may appear either as a result of insufficient turning technology or unsatisfactory quality of the wood itself. I perform the final finishing micro-grinding with ordinary waterproof sandpaper P1200-1500 on paper based with water. If manual micro-grinding of the outer surface does not cause any difficulties, then micro-grinding of the internal cavities of the bowls, especially deep ones, causes the above-described inconveniences and damage to the skin on the hand. Gloves are not very suitable here, since the tactile sensitivity necessary to prevent through sanding of the varnish layer is lost. Therefore, for finishing processing of bowl cavities in Lately I started using grinding wheels on a fabric-foam base Abralon P1000 (Mirka) with water (photo 7). I cut circles with a diameter of 150 mm with Velcro into 4 parts, although they say you can also find strips on sale, but I don’t see them on the Internet. After finishing micro-grinding, a fairly thin layer of varnish should remain on the surface of the product, since any varnish in a thick layer is not aesthetically pleasing. Although, as I already mentioned, modern water-based varnish is quite transparent, if the layer is too thick, the product can look as if it was wrapped in a matte film.
Using numerous brushes, both dry and with water, I carefully remove traces of grinding in the form of white dust that has clogged up in the remaining recesses and bark. Then I move on to polishing the varnish surfaces of the product, for which I use Menzerna Intensive Polish polishing paste (second stage), purchased from Komplekt LLC (Photo 8).
photo 8
The Menzerna Power Gloss paste (first stage) purchased there for the kit turned out to be unnecessary, since, despite the word Gloss (gloss), it gives a matte surface, which looks unattractive on my products. There is no need for two-stage polishing. No useful information the composition and properties of pastes or methods of use are not contained on the labels of the cans - complete disregard for the consumer. It is clear, however, that they do not contain silicone and therefore, if through sanding is detected, you can simply apply varnish to them with minimal preliminary micro-sanding with P1000-1500 sandpaper. I polish the surface by rubbing it by hand, most often with a folded paper towel or soft cloth until a pleasant gloss is formed. I carefully inspect the finished surface of the product to detect defects, which may be:
1. The surface is not completely smooth due to the insufficiency of two varnishing cycles and additional varnishing with preliminary grinding P220 may be required;
2. Through sanding of the varnish, the elimination of which I have already spoken about;
3. Residues of white grinding dust and polishing paste in the recesses and crust;
4. Thick layers of varnish, hardened in possible large natural depressions, for example, in rotten core, cracks, bark, etc.
I fight the flow of excess varnish into these recesses at each stage of varnishing using a dry, hard brush. If I didn’t finish looking at it in time, then I tint the thick layer of hardened and therefore whitish varnish with various retouching agents (markers, dry and liquid paints), which remained with me from the time of my restoration activities (photo 9).
photo 9
Feature polyurethane varnishes, both organic-soluble and water-based, is that a new layer of varnish, applied to a dried old one, does not dissolve the latter and adhesion (adhesion) is carried out due to micro-scratches resulting from sanding. This is the difference between these varnishes and such varnishes as nitrocellulose, shellac, alkyd, etc. This must be remembered in the practice of using water-based varnish. Repeated sanding causes large pores and gouges to become clogged with white powder, which is very difficult to get rid of. New coats of varnish do not dissolve it and it can accumulate. You have to touch up such places with a thin retouching felt-tip pen.
Photo 10 shows a vase made of rotten white willow with a cracked and completely spongy surface, already finished, clogged with varnish powder, which could not be completely removed.
photo 10
Here no local touch-ups could help and I had to apply a shellac solution (10%) with a brush over the water-based varnish. Shellac impregnated and tinted the varnish powder, which became invisible. However, irregularities on the surface again appeared, although not very large. I walked over the surface dry with a piece of the aforementioned soft abrasive Abralon P1000, since wet dust is more difficult to get rid of. I cleaned the surface from the dry dust that had formed with a brush with natural bristles, and polished the surface so that the polishing paste did not get into the numerous holes on the surface. I find that the combination of a well-finished glossy surface with its natural sponginess can sometimes enhance the texture of a product.
Removing polymerized water-based varnish from a product is not as easy as other varnishes, which requires special varnish destroyers. I did this, however, with the help of hot air from a hairdryer.
As can be seen from the above, the multi-stage surface finishing of my turning products remains quite labor-intensive. Perhaps, over time, it will be possible to eliminate oiling and shellacing of products, since water-based varnishes with the properties of organosoluble varnishes have already appeared on sale in the USA, i.e. “highlighting” wood, for example, Enduro-Var Urethane Varnish. If this is really the case (which I have doubts), then there is hope that this direction will develop and reach our country. This will mean the appearance of the perfect varnish.
Wood products - bedside table, shelf, radio box, etc. look much more beautiful if they are finished. Wood painted with oil paint is just as rough and ugly as wood that is not finished at all.
You can, of course, cover wooden surface alcohol varnish (clear or colored), but it is much better to polish it.
Wood is best suited for polishing hardwood, especially hard ones: oak, beech, walnut, maple, birch. Oak is difficult to polish, but it has a beautiful pattern that can be further enhanced by tinting. Birch can be easily painted and polished to resemble walnut or mahogany.
Coniferous wood is resinous and less susceptible to finishing, but, as we will see, it can also be successfully polished.
The polishing process, commonly used in carpentry, although not difficult, requires a lot of labor, time and patience. At the same time, it can be significantly simplified and the results obtained are no worse.
The surface intended for polishing should not have flakes, gaps, fiber breaks, cracks, glue drips, etc. There should be no knots on it.
First of all, the surface of the product is carefully sanded, first with coarse sandpaper (No. 46-60), and as it is smoothed, with finer sandpaper (No. 80-100). Final sanding is done with very fine sandpaper (No. 140-170). The surface must be sanded by moving the sandpaper wrapped around a smooth wooden block along the grain.
The result of this treatment should be a smooth, uniform matte color surface. It should be slightly moistened with warm water and immediately wiped with a dry cloth, and then dried for 1.5-2 hours at room temperature. This operation is needed to raise the pile - the smallest fibers of wood. The pile is then removed with sandpaper No. 120-140. Sometimes moisturizing, drying and removing lint has to be repeated even twice until the surface acquires an even matte sheen with a slight gloss.
This completes the carpentry work and you can begin painting the prepared surface with transparent dyes.
“To paint brown, stain paint is dissolved in hot water. The concentration of the solution is taken depending on the desired shade. The paint is applied with a cotton swab, after which the product is dried at room temperature for two to three hours.
You can also use another dye: acid chrome brown - 15 g, acetic acid- 10 ml, aluminum alum - 55 g, water - 5 l.
A reddish-brown color will be obtained if you take 20 g of walnut stain, 2 g of Ruby dye and 1 liter of water.
For mahogany finish you need to dissolve 50 g copper sulfate in 1 liter of water and 100 g of yellow blood salt also in 1 liter of water. Mix the solutions.
The dried painted surface is rubbed along the fibers with a lump of horsehair or wood shavings, after which it becomes smooth and glossy.
Apply polish No. 13 or No. 14 to the painted surface using a conventional spray bottle used for spraying cologne. The polish should be applied evenly, avoiding the formation of drops and drips. At one time, you can apply five to six layers of polish, after which you should dry it for 6-8 hours at room temperature. Then the polish is applied again and dried again. This is repeated until the polish covers the surface in an even layer so that the pores of the wood are not visible.
If some areas are not sufficiently covered with polish, they can be sealed with thickened polish. It is obtained by evaporating ordinary polish in a small vessel (for example, a saucer) for 10-18 hours.
The product coated with varnish is dried for three to five days, after which its surface is cleaned with fine sandpaper.
Polishing is done with cloth rolled onto wooden block and rubbed with “GOI” paste (instead of “GOI” you can also use razor straightening paste or chromium oxide oil paint), and generously moistened with sunflower oil. To prevent the cloth from gathering in folds, it should be outside pinned with buttons.
The polished surface gradually acquires a mirror shine. Sometimes you need small area wipe the surface with clean cotton wool and check the quality of the polishing. When polishing is finished, the entire surface must be wiped with clean cotton wool, then with a swab moistened with sunflower oil, and then again with clean cotton wool.
Although it is usually not recommended to polish resinous wood, it can be done as follows: the surface, cleaned with glass paper and painted with a stain solution, is covered with very liquid wood glue and allowed to dry thoroughly. Then, using a spray gun, five to six layers of shellac varnish are applied and polished as indicated above.
