Coloring Waxes

[Mark Strom]

As requested.

I was lucky enough to inherit some supplies from a restoration class that was discontinued at the local college. The class had been taught by a fellow from England that had gone through the traditional apprentice program in restoration and had also taught in London. He ended up in Asheville doing work in the historic Biltmore Estate. Needless to say he is a wealth of information on materials and techniques and I often call him for advice and take little mini classes from him at his home. One of his students taught me this.

 

I use several different waxes which include Johnson paste wax, Briwax, and some of the Liberon waxes. I also have a couple of really fine waxes but do not know their names right off hand. There are all kinds of blends and qualities of waxes and they can cover the scale on price. Believe me when I say there is a huge difference in these waxes and the finish they produce, this is really noticeable on larger or flat surfaces. The difference between a paste wax and a microcrystaline wax is like night and day. Google waxes and do just a little reading.

 

Coloring waxes is really easy and can be done cheaply and safely. Because I am not using large amounts I usually mix mine with a palette knife on a piece of glass or smooth wood. Occasionally I use a little heat to help with the blending but usually it is not required. The colorants I use are artist oils bought from the local craft store. So far I have not had the need for a thinner but mineral spirits, naptha or turpentine can be used. Powdered pigments could also be used as well a japan colors. As you would expect you just scoop how much wax you need and then squeeze the colorant on the wax and start mixing. If I need to, I use a cigarette lighter to heat the wax a little and just keep blending until it is mixed thoroughly. I have never run into a situation where I had to add so much colorant that the wax would not dry.

 

Application is the same as regular wax. The real secret is to work it into the wood and then let it dry. I use a cheap fairly stiff paint brush for oil paints ( also from the local craft store) and just scrub the wax into the surface. It does not take much wax so really loading the brush is not required and I use the same brush to clean out excess wax by letting it dry a little and then scrubbing the wax out of the detail areas. Drying times vary with each type of wax and are important. Drying times can affect how much wax is removed with buffing (especially on carvings where surface heights vary), what kind of sheen results and the amount of buffing the wax will tolerate.it. Generally the longer it dries the high the sheen that can be achieved.

 

You can add color overall, highlight or age using wax. It can also hide or accent wood grain depending on the colors added. It is a great finish with a wide range of effects...and it takes very little experimentation to make it work well.

 

Mark

[Janel]

Hi Mark,

 

Thank you for the information above. I have a novice's question, is the colored wax used as the finish to raw wood, instead of using a finishing/hardening oil or varnish? Another question, do you use this colored wax over pieces that you have colored, such as the recent posted images?

 

Janel

[Ed Twilbeck]

Thanks Mark and Janel. I have some artist oils and I will have to try the coloring. I have used tinted bri wax in the past when making furniture and custom boxes, but never mixed my own. Quite often I wanted something to darken the grain just a little or to highlight part of a carving , like I did on box tops. Thanks for sharing.

[Mark Strom]

I have used wax as a finish on raw wood although not often. My reason for this is due to the fact that I do not sand to the degree that you do. The secret to a good finish with wax on raw wood is the surface prep. Wood sanded above 300 grit would finish nicely with wax. Although the carnuba in the wax is what hardens the finish it is by no means a true finish in terms we usually think of. For the work that you are doing Janel I would stick to the tried and true and if anything use the waxes as an addition to your ability to enhance.

 

I apply wax over lacquer, shellac, varnish, danish oil, acrylic paint or watercolors. The artist oils take as long as 6 months or longer to truly cure in some cases due to the linseed content etc. In my case I use the wax for toning colors, controlling sheen and for ageing or accenting. An example would be coloring a carving of bark with watercolors and then using the wax to color the crevices in the bark or adding a tinge of green to a brown branch. In that case I have more control over the color and sheen that I end up with. Waxes in my realm are for subtle effects and are usually applied just in certain areas instead of say and entire piece.

 

To be truthful my finishing is as intricate as my carving process. I wanted to set myself apart and do something different with my carving so I focused on what I was good at. Finishing effects and colors have always been a strong point with me. Now when I finish a carving I use a large array of paints, stains and waxes in combination with each other and often applied in sequence over each other as well. My carvings have become multi-medium peices. I carve away wood, add wood, add epoxy or sculpting medium, stain and paint as well as scrape and sand to acheive the look I am after all on the same peice.

 

Mark

[Janel]

Hi Mark,

 

I enjoyed reading your last post as it reveals more of your complex considerations and approach to bringing a piece to its conclusion. What you have carved has in some ways become a canvas for the color and the further subtle nuances given by application of colored waxes. What a wonderful concept you have described with the pushing for more from your materials.

 

In the years since I met you here on the forum, you have continued to grow and explore with your work. I admire your drive, and appreciate your willingness to share your knowledge with us.

 

Janel

[Mark Strom]

Thank you Janel for the positive reinforcement. I have always tried to push my skills and range of work but there seems to be a sense of urgency these days. Events in recent years have changed my approach everything concerning my work. To say I have thrown off a great deal of limitations is an understatement. I realized that most of my career has been spent more on the self promotion instead of the self expression. Of course the monetary demands of having a family played into that.

 

The focus now is totally on self expression, taking what I know I am good at and pushing it in all directions. I have begun to reject most commissions, have difficulty making "similar" peices and do my best to avoid deadlines. Of course this upsets the balance of things. Galleries don't know what is coming only that it will be different from the last, collectors have begun to ask for work from a series and carvings come in groups with more time in between groups. My work is not as predictable anymore. Oh but what fun it is to explore, to experiment and to just take the time to let a carving evolve! This approach has brought new life to my work and brought a new vibrancy to my living day to day.

 

You are correct with the canvas reference. I realized why my carvings were not selling in galleries and decided to approach it differently, the results have been amazing....but that is the subject of another time.

 

Mark