Mastering the Art of the Finish
As an experienced woodworker and craftsman, I’ve come to realize that the finishing process is often the most daunting and challenging aspect of any project. It’s the part that can make or break all the hard work you’ve put into building something beautiful. I get it – choosing the right finish for your project can be a real headache, especially if you’re new to the craft. But fear not, my fellow woodworking enthusiasts, for I’m here to share my proven techniques and time-tested methods for achieving stunning results every time.
You see, I used to dread the finishing stage as much as anyone. In fact, I’ll never forget the day early in my career when we were preparing for a “beauty shot” photoshoot at the magazine I used to work for. The project’s maker, a seasoned professional woodworker, decided to try out a trendy finishing technique called “pickling.” Needless to say, it did not go as planned. The finished product looked absolutely awful, and we had to strip the entire thing, sand it back down to bare wood, and start over with a different finish. Yikes!
That little mishap really drove home the importance of choosing the right finish and mastering the application process. Since then, I’ve honed my finishing skills and developed a few go-to techniques that I rely on time and time again. My approach is all about keeping things simple, fast, and foolproof – with the caveat that there’s always a bigger fool out there (and I’ll admit, it’s been me more than once). I also prioritize safety, opting for finishes that are relatively non-toxic whenever possible.
So, without further ado, let me share with you the finishes that get the most use in my shop, as well as a bit about each one. Prepare to unlock the true beauty of your woodwork!
The Workhorse: Oil-Varnish Blend
One of my go-to finishes is a homemade oil-varnish blend that we use on most of our shop projects, including benchtops (when we bother to finish them, that is). This blend offers a perfect balance of protection and ease of application.
The formula is simple: 1 part varnish (I prefer Helmsman spar varnish), 1 part boiled linseed oil, and 1 part thinner (either turpentine or mineral spirits – I like the less smelly stuff, even though it costs a bit more). Just mix it all up in a Mason jar, and you’re good to go.
To apply, I slip on a pair of gloves and use a lint-free cotton rag to spread the mixture in a thin, even coat, drawing it out until there are no puddles – essentially, I’m wiping it dry. After letting it sit for a few hours, I’ll give it a light sanding with an extra-fine sponge or fine-grit paper to knock down any nibs.
Repeat this process as many times as you like to achieve the desired look and level of protection. I typically do a minimum of two coats, but I wouldn’t recommend going beyond about four – any more than that and it can start to look a bit too “plasticky” (though it will be better protected).
What I love most about this oil-varnish blend is that it’s essentially foolproof. The boiled linseed oil adds a lovely touch of yellow, giving the piece an aged, vintage appearance. And did I mention it’s super easy to apply? Just keep in mind that, well, there’s always a bigger fool out there – and that fool has sometimes been me.
A Gentle Glow: Allback Linseed Oil Wax
Another favorite of mine is Allback Linseed Oil Wax, a non-toxic finish made from organic linseed oil and beeswax. I love using this on smaller projects that don’t see a ton of abuse, like the Shaker trays and candleboxes I make quite often.
The linseed oil imparts a low, natural-looking sheen – more of a gentle glow, really – and it adds just a hint of yellowing that looks absolutely gorgeous on cherry, walnut, and figured maple. Plus, you don’t have to wear gloves when applying it, which is a nice bonus.
The application couldn’t be simpler: just wipe it on raw wood with a cotton rag or a gray 3M pad, working it in until only a thin film remains. After about 30 minutes, buff off the excess with a clean cotton rag (and be sure to rub hard – if you leave too much on the surface, it’ll be sticky, and the longer it sits, the harder it is to buff).
Wait a day or two, then apply a second coat. This second coat takes a little longer to fully dry (a couple of days), but it adds even more of that beautiful glow and a touch more protection.
Oh, and did I mention that Allback Linseed Oil Wax will actually soften your skin? It’s like a built-in hand lotion – not bad for a finishing product, if you ask me.
The Classic: Shellac
Shellac is an age-old finish that’s been used on furniture since at least the 16th century. It’s made from the secretions of the female lac bug, and it’s available in both waxed and dewaxed varieties (the dewaxed being more expensive due to additional refinement).
While you can buy premixed shellac that’s ready to use, I prefer to work with the flake form and mix my own. That way, I can easily control the “cut” (the thickness) and have a much wider range of color options. The brand I use is “Tiger Flakes” from Tools for Working Wood – it’s highly purified and dewaxed, so I rarely find any bug parts in my mixture (though I always strain it just to be safe).
I dissolve the flakes in 190-proof Everclear or another pure grain alcohol/ethanol. If you can’t get your hands on ethanol, just make sure whatever you use doesn’t have any additives that would make it poisonous. Mix the two together in a Mason jar, give it a good agitation every 20 minutes or so for a few hours, and voila – you’ve got homemade shellac.
My go-to is a 1-lb. cut (or a little thinner), which is 1 pound of shellac per 1 gallon of alcohol. I almost always spray shellac with an HVLP gun, as it allows for nice, thin, even coats that dry super fast. I’ll typically do two coats, lightly sanding between them with an extra-fine sponge.
Now, a word of caution: I always spray shellac (and other finishes) outdoors in the courtyard behind the shop, usually in the morning before the sun hits the area. Then I immediately bring the sprayed pieces inside to the climate-controlled shop. This helps me maintain better control over the drying process and avoid any dreaded blushing.
Once the shellac is applied, I’ll sometimes top it with a soft wax to knock down the high shine. Or, if a project needs even more protection, I’ll spray on a coat or two of low-sheen pre-catalyzed lacquer. But let me tell you, that lacquer gives me a headache for the next two days, so I try to avoid it if I can.
The Painted Approach
Now, I know painted furniture sometimes gets a bad rap, but I’m here to tell you that it’s a perfectly valid and often beautiful option, especially for certain wood species like pine and poplar. In fact, for chairs made from an assortment of woods, a good paint job can really help tie the whole project together.
When it comes to paint, I prefer to use a casein-based milk paint over latex. I love the dead-flat finish of real milk paint, and as long as you don’t do too many coats, it has a lovely transparency that allows the wood grain to peek through.
The catch is, you have to be prepared for the horror that is the first coat. Milk paint goes on (or should go on) almost water-thin, and it requires a bit of practice to get the application just right. But the good news is, it dries quickly, so you can usually apply multiple coats in a single day.
The last time I used milk paint, though, I made a rookie mistake: I spent four days building up the perfect color, only to ruin it all by not testing my chosen topcoat. The oil in the product ended up lifting the pigment, and it looked absolutely awful. Luckily, it was for a personal project, but it’s a constant reminder to always test new products and techniques before applying them to a client’s piece.
These days, if I do use milk paint, I’ll typically top it with Allback Linseed Oil Wax – no need for a topcoat if you don’t want one, as milk paint dries to a pretty hard finish on its own.
For a quicker, more foolproof painted option, I’ll sometimes use General Finishes’ “Milk Paint” (which is actually an acrylic). It behaves more like regular wall paint, so it provides more solid coverage in fewer coats. I can sometimes get away with just two, but I usually do three for good measure.
Burning with Style: Shou Sugi Ban
Have you heard of the traditional Japanese technique of Shou Sugi Ban? It involves charring the exterior of cedar wood to protect the wood beneath, making it fireproof (or at least fire-resistant) and less appealing to pests. But I think it’s also catching on in the U.S. because it just looks darn cool, and it’s really fun to play with fire.
The great thing about Shou Sugi Ban is that it allows you to be a little bit lazy. Since you’re essentially burning off the exterior of the wood, there’s no need to spend time cleaning up planing tracks or sanding (unless the tracks are really deep, that is). The fire takes care of all that for you.
While Shou Sugi Ban works on all kinds of wood, I think it looks best on softwoods that have a clear difference between the earlywood and latewood, like yellow pine and fir. You end up with this really interesting variation in the depth of the black char.
In most cases, it’s best to char your work before assembly, as typical shop glues won’t withstand the process. Be sure to tape off any tenons and stuff a wet rag into any mortises – you don’t want to accidentally burn your carefully fitted joints.
For large projects like fences or dining tables, a propane weed burner is the way to go. But for smaller stuff, a handy little propane torch works great. Just hold the flame to the piece until it’s good and charred, and keep a spray bottle of water on hand just in case things get a little too hot.
Once it’s charred, brush off the soot with a stiff brush. While the wood is still warm, apply a coat of wax or oil and wax (like our friend Allback) and wipe off the excess with a clean rag. That rag’s gonna end up covered in soot and wax or oil, but once the topcoat dries, that transfer will stop.
Scandinavian Simplicity: Soap Finish
Did you know that soap finish is a traditional technique in Scandinavia, especially for floors? And the legendary Hans Wegner even used it in some of his work. It looks gorgeous on light-colored wood, and it’s particularly nice on chairs due to its soft, velvety feel.
I could go on and on about soap finish, but I think it’s better to just watch David Johnson’s excellent video on the subject. He really knows his stuff when it comes to this traditional technique.
Wrapping Up
Well, there you have it, my fellow woodworkers – a comprehensive look at some of my go-to finishing techniques. From the trusty oil-varnish blend to the elegant Allback Linseed Oil Wax, and even the charred beauty of Shou Sugi Ban, I’ve shared the methods that get the most use in my shop.
Remember, the finishing process can be daunting, but with a little practice and the right know-how, you can unlock the true beauty of your woodwork. Don’t be afraid to experiment and find the techniques that work best for you and your projects.
And always, always, always test new products and methods on a scrap piece before applying them to your final work. Trust me, I learned that lesson the hard way, and I don’t want you to make the same mistakes I did.
Happy woodworking, and may your finishes always turn out flawless!
