wood dyeing

[Bob Bergstrom]

If I want to know how the color of a piece will look before I dye it, I use the unturned blank as a test piece. sand it to 600 grit and then apply the dye on it. If I don't like it sand or cut it off and apply some other technique. Nothing lost and a real insight to what it will look like on the finished piece.

[Prashun Patel]

You might take this question to the Finisher's Forum. I believe there is some info/advice here that's not what I've experienced. My experience is more in line with some of the flatworlders over there. Rick's right, though: experiment for yourself. Rick's taught me a thing or two, so i offer this 3rd disagreement with humility: I don't find aniline dyes - at least Transtint and Transfast - to obscure or muddy the grain at all - once re-wet by a topcoat. I find Transtints (and I've used a few browns, yellow, green, red, blue, and black) all go on brilliant and clear, dry muddy, then rebrilliantize once topcoated. YMMV, apparently

[Rick Markham]

Prashun, I think our disagreement is largely a semantic one. This isn't an easy thing to describe. Muddy probably isn't the best adjective as it implies an opaqueness. Transtint dyes, do an amazing job at remaining ultra transparent. (It's all I use, or need, at this point)

I agree the brillance of the piece changes between wet and dry (due to finish.) Changes in the actual color, and changes in hue of the color because of the finish are largely due to the nature of the finish itself. IMHO. We have to always consider that the finish acts as a filter (like they used to use on old SLR cameras) and affect the spectrum of light that is reflected back to our eyes. So yes, the final color is altered (depending on your finish it can make a BIG difference.)

As John Beaver has pointed out, yes color of the wood does have an effect (it's part of the fun) Certain colors don't work well with other colors, and it is a dance that we play as the artist as to how we exploit that. But color isn't hue, and the terms aren't interchangeable. Each plays a significant role in the visual effect generated. I'm mearly stating that in Art and painting (which are both things we are doing here) that color plays a secondary role to hue. Our brains like to play visual tricks on us, it automatically color corrects for what it "knows" is right.

These are not easy concepts to convey. Especially since our brain likes to "fix" things unknowing to us. Young painters struggle with Color theory for this very reason, there almost needs to be a suspension of disbelief when learning color, you have to trust the physics of color and disregard everything our brains tell us. Even though some of it seems completely contrary to what our brain tells us. Hence why the process can only be exploited via experience.

I need to go finish my homework, so I can start a thread explaining my current situation/work etc, this works better with examples. Unfortunately my posting will come at a personal cost to me (the extent of which I cannot gauge until I do post, I've been very hesitant to do so for this very reason)

I like that this discussion is here, it's an important subject. Color is a very personal thing and should be treated as such. It's been a stimulating conversation so far!

[Sid Matheny]

Since Jenny named Krylon triple glaze, I thought I would let anyone using it know there is a recall on some of the cans.

http://www.cpsc.gov/cpscpub/prerel/prhtml12/12259.html

Sid

[Rick Markham]

Sid, good looking out. It looks like a batch of cans might clear coat something you don't want clear coated

[Marc Himes]

I use Artisan and Trans Tint dyes with alcohol. One technique I have found helpful in coloring figured wood is to wash (scrub) the entire piece with a paper towel soaked generously with alcohol while it is on the lathe, after I have applied the final coats of color. The figure in the wood becomes more prominent. The colors may blend a bit when I do this but I am usually after that effect anyway. I usually sand with 400 or 600 to take away the grain raised by the dying process before applying finish and if I do it lightly, it doesn't seen to take away too much color. There is a lot of trial and error so experimentation is the ticket even after you get some instruction. Have FUN!

[Jim Burr]

Jim, that's true and a I should have more accurately said, that the airbrush is an exceptionally good tool, and a mixture of application methods may be in order. It really depends on the desired effect/ piece itself And yes, Steve loves dyeing wood, and does it remarkably well!

No Coroner, no foul Rick...just adding more junk to the mess!! I haven't shot an entire piece with my AB yet...want to be able to spend a few days focusing instead of an hour. Done a lot of playing with platter rims and bottle stoppers so I'm really comfortable with the folded fabric techinque. I put H2O in my brush and shot it on cardboard to get a feel for the action and view patterns/density. Next weekend...the brush comes out and I found a source in Fresno that has WTF so it will be a double wammy! Thanks for all the tricks and tips!

[tony tomlinson]

Thanks to all for your re-plies. As usual on this forum I was pointed right to the info I needed. The tutorial by John Keeton on the Woodturners of America site was excellent and very informative and Marc, I appreciate your input.

Many thanks to all
Tony