“I am building a bar top from 8/4 Walnut for my son’s new home, and he wants to have a very natural finish on it – no film finish allowed. My first thought was to use BLO, but some research has led me to think that Pure Tung Oil might provide better protection. Is Pure Tung Oil a better option than BLO for an open grained wood like Walnut?”

Tung Oil and BLO

When it comes to protection, boiled linseed oil (BLO) and pure tung oil are pretty similar. One important thing they have in common is that neither one offers a great deal of protection. If you have to choose between the two, I would say to go for the BLO since its cheaper. BLO does is said to “yellow” a little more over time when compared to tung oil, but that is a moot point with respect to walnut.

Now obviously your son is the boss here, right? But indulge me while I make a small suggestion. An pure oil finish will certainly be better than nothing at all, but for a bartop, your son might regret this decision after the first few spills. I can totally understand why he doesn’t want a film finish though. Personally, I hate the look of those super thick bartop finishes (epoxy). If someone wants that much protection, they should just put down a piece of glass or simply use something other than wood (can you smell the contempt? hehe). But keep in mind this isn’t an all or none proposition and you can achieve a compromise between the highly protective plastic look and the barely protected natural look.

The Oil/Varnish Compromise

So my suggestion would be to try to achieve the best of both worlds. Give the bar top a very natural-looking finish, while imparting a great deal more protection than what you would receive from an oil alone. There are a few products on the market today that contain oil and varnish together, like Watco Danish Oil. Because there is so much oil in the mix, you would have to put on about 4 or 5 coats before you really start to get an appreciable film. However, if you apply 2-3 coats, the wood will retain the natural look while protecting the surface with at least some varnish. If you go with a matte or satin formulas, I think your son will be even happier with the end result as it won’t have the eye-glaring reflective qualities of a typical gloss concoction.

One of the great advantages to using an oil/varnish blend is you can monitor the surface after each coat and simply stop when you have the look you want. Dilute the mix with mineral spirits if you want even more fine control. Also keep in mind that you can actually make your own oil/varnish blend by mixing 1/3 mineral spirits, 1/3 BLO (or tung oil), and 1/3 polyurethane.

Either way, make sure you sand lightly between coats to keep the finish nice and smooth. After the final coat, either sand with 1200 grit paper or buff with 0000 steel wool. The wood will not only look natural, but will easily repel the occasional spill.

Related Resources:

Oil Finish Basics (Video)
Make Your Own Oil/Varnish Blend

I put two coats of General Finishes Seal-a-Cell on a piece of cocobolo, then a coat of Arm-r-Seal Urethane top coat (gloss). Three days later, it’s still slightly tacky. Will this ever cure enough that I can continue applying coats of Arm-r-Seal? What gives?

What a Mess!

Many exotic species, like cocobolo, have a certain amount of natural-occurring oils in them. When you coat them with an oil-based finish, the oil in the wood itself prevents the finish from curing properly. The end result is typically a gooey sticky mess.

Prevention

Fortunately, we do have options. First, you can use an evaporative finish, such as shellac or lacquer. These finishes don’t cure via oxidation and will usually have no problem curing on an oily wood. A second option would be to seal the natural oils in using something like dewaxed shellac. A 1-2 lb cut should do the trick. Start by freshly sanding the surface and remove the excess oil by wiping the surface down with either acetone, lacquer thinner, or denatured alcohol. Immediately follow up by wiping or brushing a light coat of shellac onto the surface. Once dry, sand lightly with 320, vacuum the dust, and proceed with your oil-based top coats.

Now keep in mind, its probably best at this stage to stick with straight varnish and avoid oil/varnish blends such as Danish Oil. An oil/varnish blend works best when it can absorb deeply into the grain, and the shellac sealer coat prevents this from happening. So if you insist on using a blend, be sure to apply very thin coats and wipe off all the excess. Or play it safe and just use a straight varnish that contains no raw oil.

How to Fix It

Now if you are in a situation like Schuyler here, and you have a sticky mess on your hands, here’s what I recommend. The first thing you can do is simply wait. In most cases, the finish will eventually cure. It can take weeks or even months, but it should get there. For most folks, this is not a reasonable time-frame. So another option would be to rub the surface down with some steel wool and mineral spirits. Buff the surface rather aggressively as you attempt to remove some of the uncured finish. Let this dry overnight and see if the tackiness is still present. If it feels fairly dry to the touch, give it a light coat of shellac as described above. If its still tacky, move on to option three: the do-over! Sometimes, the best course of action is to scrape or strip the old finish off, and start over again. It’s not my favorite solution, but sometimes you just have to do it.

Have you had experience with oily woods? How did you handle it?

Oil-based finishes are typically the first type of finish we confront as woodworkers, be it straight oil or a can polyurethane. Although they are all derived from oil, these finishes can vary widely in terms of application method, durability, and maintenance. The key to understanding these finishes is to understand their ingredients. With that foundation in your tool belt, you can start looking at ingredients lists instead of brand names and labels, and you’ll know exactly what to expect from the finish. Since this is a live session, we have a bunch of viewer questions in the video as well.

Topics include:

• What is oil?
• What is varnish?
• What is the relationship between varnish and polyurethane?
• The relative durability of oils, varnishes, and oil/varnish blends.
• How to see past marketing jargon.
• Why I like Arm-R-Seal.

Products discussed in the video:

• General Finishes Arm-R-Seal
• Rockler’s Tung Oil
• Timbermate Wood Filler
• Tru-Oil

Now if you read just about any finishing book, you’ll come across one of those handy charts that compares the key properties of different finishes (usually abrasion, heat, and moisture resistance). These charts can be incredibly helpful, but nothing is more eye opening than a simple, practical, home-brewed test! Am I crazy for disliking the oil & wax finish??? To answer that question, I decided to make up a few sample boards and run a little experiment of my own.

I took 4 scrap pieces of baltic birch plywood and finished each one with different materials. My assumption is that if you are considering oil & wax as a finish, you are probably a fan of that “close to the wood” look. So the film finishes were applied very lightly in an effort to keep everything consistent. Here’s how I treated the samples:

BLO (boiled linseed oil) Only – I sanded the board to 320 (for oils, I like to go a little higher than usual to help promote even absorption). I flooded the board with BLO and let it soak in for an hour. I then wiped off the excess with a clean cotton rag and let the board dry in the warm Arizona air for the entire day and overnight. The next day, I repeated the application process. I did this for a total of three applications.

BLO/Wax – I treated this board exactly as above, only after waiting about 4 days after the final oil application, I applied two coats of paste wax and buffed it to a very pleasant sheen.

BLO/Shellac – I gave this board the same BLO treatment, but instead of wax after 4 days, I gave it two coats of Bullseye SealCoat (2lb cut).

Varnish Only – Sanded to 180. This board received three light coats of Arm-R-Seal satin with sanding in between.

When it was all said and done, each board (with the exception of the BLO-only), had a nice, natural-looking satin appearance. The BLO-only board was dull, as one would expect.

So now for my not-so-scientific test. I wanted to simulate a spill of some kind. In this case, I used a fairly concentrated solution of Transtint Dark Mission Brown in water. I placed a quarter-sized puddle of dye on each board, and let it soak. Let’s pretend this is soda, coffee, wine, or maybe even some delicious hot cocoa (we ARE entering the holiday season you know). After 5 minutes, I wiped away the excess dye and then scrubbed the surface with a damp rag. Here are the results:

The BLO-only sample looks………well……it looks like a bird took a poo on it. The dye seeped into the grain and through capillary action, traveled well beyond the original location of the dye. A stain like this would be very difficult to repair. And if the project is made from plywood, you’ll most likely burn through the veneer before you completely clean up that stain.

The BLO/wax board clearly fared better. The wax does a decent job of preventing complete absorption of the dye and the spread was fairly limited when compared to the BLO-only board.

The BLO/shellac proved to be reasonably protective. A small amount of staining is present but it doesn’t seem like the dye penetrated far enough to travel through the grain. The staining is generally limited to the shellac film, and never really touches the wood. This would be a very easy repair.

And finally, we have the varnished board. Boring right? Honestly, there just isn’t anything to look at. The varnish completely blocked the dye from absorbing into the wood fibers.

Really there was nothing surprising here. Film finishes simply protect the wood better than non-film finishes. But deciding what finish to use on your next project depends on a number of factors, and protection from spills is only one of them. So try to pick the finish that suits the project at hand as well as your personal tastes.

What is my take on this? Personally, I am a big fan of the wiping varnish finish. Just take a look at my DVD, *wink wink*. You can apply just a coat or two to get that close to the wood look and feel, or you can slap on six or seven coats for the ultimate in protection. If you like the deep amber hue that BLO brings to the party, why not start with a single coat of BLO, and finish by top-coating with your favorite varnish? Or maybe compromise and use a Danish Oil or even a home-brewed oil/varnish blend. But when it comes to my projects, the time it takes to produce a BLO finish, coupled with the overall lack of protection, puts it smack dab at the bottom of my preferred finishes list.

Now one other thing that I must mention is repairability. Unfortunately, varnishes are not as easy to repair as other finishes. Shellac, lacquer, and BLO can all be sanded down and re-coated with excellent results. But with varnish, sanding too much can result in witness lines if you burn through one layer and expose the one beneath. So if you are repairing a varnished surface, you really have to take it easy. Fortunately, the increased durability of a varnished surface means you are a lot less likely to damage it.

So like many things in woodworking, its a balance and a compromise. But ultimately, its your project and your shop, and you are the boss. So choose whatever finish tickles your fancy. But if you want a truly durable surface, you should definitely give a film finish strong consideration. And of course, clean spills quickly and encourage the use of coasters!!

I’m a South African living in Britain watching your American show – interesting how the world works huh? I’d like to enter a Viewer Project: my “ORIGINS” table. I really want to share this project with woodworkers because it has proven that I have to, like you say, think out of the box. Our schooling and everyday life causes the thought process to become rather closed and problem-oriented, rather than free-flowing and conceptual. It is like nothing I have tried before. Even after three months of making I still wonder how it all came to be.

It began about a year ago with an idea I had for a cabinet. My wife was pregnant and the whole process of birth become a fascination. The idea of male/female, yin-yang, parent and child etc, which I hope is evident in the design grew into the idea of using not only opposing woods, but opposing shapes, textures, types of board/timber. And then the cabinet wanted to become a table that supported a “child” if you will – the bowl in the middle.

Now what I have to keep reminding myself here is that I was trying my UTMOST best to NOT think about how I was going to make it. I’m sure us woodies are all cursed with this, but it has become so important (like with David Marks’ and furnitology’s) to concentrate on design and the “mindset” of the piece first, then problem-solve the issue of “how?” I made 2 HUGE mistakes and almost gave up but decided to go on. I was already on a tight budget for it (the veneers for the top alone cost something like $150!!) but I decided that once you pop, you can’t stop.

I found myself using tools I never had before: a round-bottomed spokeshave to finesse the curves, soil and dirt to tarnish the copper, sawdust and cyanoacrylate glue as wood-filler, a round-bottomed surform to finish the base. I had an idea of what I wanted it to look like, but it was make-it-up-as-you-go-along all the time and that was such a refreshing (though often frustrating) change. I strongly believe now that it’s not what you know, but rather what you want to learn that counts, and as long as woodworking is respective of the beauty that lies in wood, it will always be good :) It’s the ultimate material and unlike other things, it grows on trees!

Here are some construction details: “Female” consists of 27 layers of 19mm birch plywood – each piece individually routed round and then glued and pressed together. The final shape was eventually achieved after much use of a surform, belt sander, chisels and LOADS of 80 grit sandpaper wrapped around a 1.5 inch dowel.

Male consists of two halves. Each is two layers of 5mm bendyply veneered with walnut using contact adhesive (I was worried this would throw the shape out but the 2 layers of bendyply seemed to work well :) Making this was the most difficult part as the two halves had to be joined in a straight line, down a shape that curves in two directions and not only in the middle but where it joins the female too !! It took days of trial and error with a block plane to get that edge down the middle ! It’s still not perfect but hey we all have our limits :) I first made the structure then veneered one side at a time. The compound mitre on the base of the male proved to be challenging too since it does not lie flat on one surface but on an edge.

The cherry piece joining the two was made from a single length for continuity and just cut into smaller angled pieces to achieve the curve. The “foot” that joins the base of the male was done by hand with some chisels and a belt sander. The bowl also came to be using bendyply. Veneers are Maple, Walnut and I think Burr elm.

Once I got the male and female to join nicely with the cherry, and the bowl all fitted, I started on the top. I routed a 3foot diameter piece of 19mm ply and edged it with a 4mm cherry strip. I achieved this using strap-clamps and very straight-grained quarter sawn cherry to avoid it splitting/snapping (Yikes!). Initially it was to be more of a yin-yang shape on top but the waterdrop shape of the bowl called for a more refined curve. I first laid the burr walnut veneer, then the burr cluster maple (quite pink isn’t it?) then I routed the groove for the cherry inlay.

The cherry inlay isn’t conventionally liad. Rather than a thin slice of veneer it consists of about 10 layers of cherry veneer laid on edge within the groove! That proved to be a rather testing time :) After some hand-planing with a SHARP edge, it was flush to the veneer surfaces. I recessed the glass supports into the top and made the template for the glass by tracing on a piece of paper with a pencil (similar to the copper method). I sent it off to the glass-makers and they did a swell job. The glass lid is lifted out using the inch hole.

Now the copper came by accident due to the fact that I had to cover ugly screws sticking out of the female where I had screwed the ply pieces together. I tried to remove them neatly but it turned ugly after a while :) So I decided – as a friend once told me – rather make a display of your mistakes than try to hide them. I think I have realized now how helpful that can be. So I drilled the three 65mm holes 3mm deep around the screws, got hold of some 3mm copper plate and after making a rough paper template I ground them out and shaped them using a belt-sander on edge with 40 grit paper. I then tarnished them by leaving them outside on the lawn for a few nights and beat and scraped them in any way possible to create the aged look. I glued them in with PU glue and sanded them with 600 grit.

The finish: After much debate and much research (including the help of The Wood Whisperer) I finally came to a conclusion. Danish Oil is one of the easiest finishes you could ever apply (I hope Marc agrees here) I have done lots of spraying and used varnishes and oils of all shapes and sizes, but since I had been laid off at work, I had no access to the spray-shop and thus needed a really easy no fuss finish. And I must say – it does take a good 4 coats over 4 days to do the job but it is ever so easy to wipe on. A rub down with steel wool between coats and then some good-old-fashioned beeswax (2 coats) and some elbow-grease to bring out a bit of a shine and I am really very pleased with the finish. I did want to use a polyurethane spray but I think it actually worked out better this way since I can rest assured it is easily re-finished or restored.

Lastly I must say that it really has been an amazing learning experience and I would not have been able to do it without the advice and general positivity of online shows like TWW – so thanks Marc and friends!

And here was my response:
The only problem with Danish oil in this application is the fact that most Danish oil contains a high amount of oil. That oil will have difficulty curing on top of a pre-sealed surface (from the shellac). The General Finishes products are mostly varnish, if not all varnish (Arm-R-Seal). So what you are really looking for is a simple wipe-on varnish to put over top of the shellac. Minwax sells a decent one that is widely available. A few light coats should do the trick.
You might also consider using a different coloring agent. Even though I do occasionally use a dilute shellac/dye solution for coloring, its only for certain situations. In most cases, I do my staining with water-based dyes or gel stains. Neither of these really seals the surface and you should have no problem following up with a Danish oil if you use them. So really, the sky is the limit for your combinations of coloring agents and topcoats. But to directly answer your question, you want to avoid putting oil/varnish blends on top of sealed surfaces.

I get quite a few questions about water-based finishes and how to make them look more like oil-based. Its a common problem since water-based finishes are “water-white”, which means they don’t impart any color to the wood. This can be great in certain situations, but not so great when you want your project to have that warm glow to it. In this episode, I use dye, shellac, and boiled linseed oil to try to spice up our water-based finish. I also packed in a bunch of related tips and tricks as I went through each process.

Related Links:
Hock Shellac Flakes
Charles Neil’s Shellac Video

As requested, here is a hi-res photo of the test boards:

My Father in Law made a gorgeous dresser for our son…problem is when we use it, the clothes smell like finish and then so does our baby. We’ve aired it out numerous times and it also aired in his shop before it came over. I’ve tried a couple of odor discs and sachets, but the smell comes back. I’m afraid to try anything stronger for fear of adding/combining the smell. FIL and my grandfather (who also does wood items) are both stumped. What can I use to safely conquer the smell and use the dresser?!

Hey Melanie. This is actually a very common problem. As oil cures, it maintains an odor. Fortunately this odor dissipates over time. But on the inside of a piece of furniture, where very little air exchange takes place, the oil can produce an odor for many many years. So what can you do? The first option, which I’m sure is not feasible, would be to let the unit air out for a very long time. The second option would be to coat the interior with a new finish that doesn’t produce an odor. There are two finishes that are perfect for this: shellac and water-based polyurethane. One or two coats on the interior should do the trick. This material will lock in the oil odor while producing no smell of its own. Your FIL or Grandfather should be able to help you apply either material. So as an FYI for your woodworking relatives, its a good rule of thumb to leave the interior of casework (especially those intended for clothing or blankets) unfinished, or finished with a few coats of shellac or water based polyurethane. That should take care of it.