How was this colored?

[Alan Weinberg]

I bought this bowl long ago and unfortunately the gallery closed. I cannot read the signature on the bowl bottom so I cannot contact the artist. Any ideas how to get this type of coloration while preserving grain visibility? I’ve asked a few turners without success.

 

[Dave Landers]

Dye. I like Chestnut Spirit Stain (form Craft Supplies) - it's alcohol based with a bit of shellac. But have also used other water-based dyes.
Here's a small (I think it was about 2") cottonwood hollow form I did a while back

It's just layers of red and yellow dyes. Some people will apply dye then sand it back to expose some of the wood (the dye soaks in some spots more than others). I usually just do layers and blends.
And here's an ash apple - less figure but you can see the grain still thru the dye:

 

[Bob Brown]

Chris Pytlik, maybe . Inside and outside dyed

 

[Michael Anderson]

Dave, that apple is super cool!

 

[Bill Blasic]

I use Trans Tint dyes and Chris Pytlik has been my wood dyeing guru for almost 20 years. Other than using black I think it is pretty hard to hide the grain using dyes like Trans Tint, Chestnut products, Keystone products and Lockwood products (metal acid dyes in general).

 

[hockenbery]

Any ideas how to get this type of coloration while preserving grain visibility?

While I think your piece was probably done with something like cheasnut stains or dyes
Transparent airbrush paints show grain through color nicely too. They can be brushed on or airbrushed

This is a terrible photo but the colors on this chinaberry form are all golden airbrush paint. The background is yellow and orange.

 

[Alan Weinberg]

Chris Pytlik, maybe . Inside and outside dyed

That’s it! Thanks. Any contact info? Update—found him on Instagram.

 

[Alan Weinberg]

Dye. I like Chestnut Spirit Stain (form Craft Supplies) - it's alcohol based with a bit of shellac. But have also used other water-based dyes.
Here's a small (I think it was about 2") cottonwood hollow form I did a while back
View attachment 53314
It's just layers of red and yellow dyes. Some people will apply dye then sand it back to expose some of the wood (the dye soaks in some spots more than others). I usually just do layers and blends.
And here's an ash apple - less figure but you can see the grain still thru the dye:
View attachment 53315

Dave—beautiful work and thanks. After the dyes, what finish do you use? It looks amazing!

 

[Bob Brown]

search engine has some of his demo notes. Good guy, he was doing resin uv stuff when I talked to him several years ago.

 

[Dave Landers]

Dave—beautiful work and thanks. After the dyes, what finish do you use? It looks amazing!

Pieces like these are usually rattle can lacquer. Sometimes they get a few coats of thinned brushing lacquer first (brush or wipe on then wipe off as much as possible). Sometimes I stop there and skip the spray.

 

[Sam Fleisher]

Pieces like these are usually rattle can lacquer. Sometimes they get a few coats of thinned brushing lacquer first (brush or wipe on then wipe off as much as possible). Sometimes I stop there and skip the spray.

That's an awesome apple, I can't figure out what the stem is made of?

 

[Dave Landers]

That's an awesome apple, I can't figure out what the stem is made of?

Stem is leather

 

[Bob Brown]

I bought this bowl long ago and unfortunately the gallery closed. I cannot read the signature on the bowl bottom so I cannot contact the artist. Any ideas how to get this type of coloration while preserving grain visibility? I’ve asked a few turners without success.

I sent you a couple of emails. Info on dying. Hope they go through.

 

[Alan Weinberg]

I sent you a couple of emails. Info on dying. Hope they go through.

Thanks so much! It’s appreciated. Got them!

 

[Richard Coers]

Pieces like these are usually rattle can lacquer. Sometimes they get a few coats of thinned brushing lacquer first (brush or wipe on then wipe off as much as possible). Sometimes I stop there and skip the spray.

The orange peel from the rattle can on the hollow form doesn't bother you? I told everyone about that in a discussion about the differences of rattle cans and spray guns. With the reply that the finish looks amazing, maybe people just know the difference? But I was surprised to see this piece by Giles Gilson. He was known for his color and lacquer finish. So you are not alone.

 

[Dave Landers]

The orange peel from the rattle can on the hollow form doesn't bother you?

Yeah, it does. Sometimes. It's on my list of things to work on improving...

 

[Doug Freeman]

The orange peel from the rattle can on the hollow form doesn't bother you? I told everyone about that in a discussion about the differences of rattle cans and spray guns.

Even a cheap spray gun will do better than a rattle can. With the ability to thin/add retarder a lot of control of the finish is gained, including increasing the environmental conditions when one can spray.

 

[Richard Coers]

Yeah, it does. Sometimes. It's on my list of things to work on improving...

It's pretty easy to fix Dave. You just need enough clear on the piece to "finish the finish". Mirka Abralon has a great line of cushioned fine abrasive to flatten the finish out. But lots less work when the finish is really flat out of a good gun.

 

[Gerald Lawrence]

IMHO most orange peel is either moving too fast or too slow. I think we get impatient when we are holding a can and therefore cans have a bad rap. Also spray rate with can is different from using a sprayer. I personally prefer airbrush.

 

[Richard Coers]

IMHO most orange peel is either moving too fast or too slow. I think we get impatient when we are holding a can and therefore cans have a bad rap. Also spray rate with can is different from using a sprayer. I personally prefer airbrush.

No, it's about correct atomization. Nozzle size, pressure, and material viscosity, either give you smooth or rough. Too fast or slow gives you runs or a dusty surface. https://pittsburghsprayequip.com/bl...-stop-and-fix-orange-peel-when-spraying-paint

 

[Gerald Lawrence]

No, it's about correct atomization. Nozzle size, pressure, and material viscosity, either give you smooth or rough. Too fast or slow gives you runs or a dusty surface. https://pittsburghsprayequip.com/bl...-stop-and-fix-orange-peel-when-spraying-paint

If that is the case then you could never get a smooth surface with a can? All same nozzle of a particular brand

 

[Richard Coers]

If that is the case then you could never get a smooth surface with a can? All same nozzle of a particular brand

Yes, that is my opinion. It appears a lot of turners have their own opinion on what smooth means. To me, smooth is defined by both touch and appearance. The aerosol can certainly be used to throw the finish on the work, but the finish is NEVER acceptable right from the can. It needs multiple steps of abrasives and polishing to make it smooth. And to be honest, most gun finishes need a bit of work too. But you can start with much finer abrasive and probably cut the post finish work by 75%

 

[David Aion]

Dye. I like Chestnut Spirit Stain (form Craft Supplies) - it's alcohol based with a bit of shellac. But have also used other water-based dyes.
Here's a small (I think it was about 2") cottonwood hollow form I did a while back
View attachment 53314
It's just layers of red and yellow dyes. Some people will apply dye then sand it back to expose some of the wood (the dye soaks in some spots more than others). I usually just do layers and blends.
And here's an ash apple - less figure but you can see the grain still thru the dye:
View attachment 53315

thanks, love the apple

 

[Francis Marro]

Dye. I like Chestnut Spirit Stain (form Craft Supplies) - it's alcohol based with a bit of shellac. But have also used other water-based dyes.
Here's a small (I think it was about 2") cottonwood hollow form I did a while back
View attachment 53314
It's just layers of red and yellow dyes. Some people will apply dye then sand it back to expose some of the wood (the dye soaks in some spots more than others). I usually just do layers and blends.
And here's an ash apple - less figure but you can see the grain still thru the dye:
View attachment 53315

I like both pieces Dave. Regarding dyes being taken up unevenly, is there a solution to that? I use Chestnut Stains on twig pot forms, often holly. After sanding to 400 (maybe that's too fine?) and cleaning with DNA, I apply the stain full strength and always get a pale line, usually around the largest diameter of the piece. Applying more stain to that area doesn't help. Suggestions? Thanks.

 

[Dave Landers]

I like both pieces Dave. Regarding dyes being taken up unevenly, is there a solution to that? I use Chestnut Stains on twig pot forms, often holly. After sanding to 400 (maybe that's too fine?) and cleaning with DNA, I apply the stain full strength and always get a pale line, usually around the largest diameter of the piece. Applying more stain to that area doesn't help. Suggestions? Thanks.

I've seen that. I think it's because of the orientation of the grain/pores. Dye seems to soak in rather than sit on the surface, and on the side of a pot there's no pores (they point the other way), so not as much gets drawn into the wood. At least I think that's what's happening.
I'm usually using dye to highlight figure, layering a couple of colors. So if I get a "shadow" or "highlight" around the outside, that often just adds to that effect.

 

[Francis Marro]

Thanks for the explanation; that makes sense. I may try applying some dilute sealer to the entire piece first and then dyeing to see if that helps. Thanks again.

 

[Richard Coers]

Use an air brush or touch up gun to apply the dye for a more even coat.