What do you want from a finish? This question dogs me. That a project I make needs (and gets) a finish is a given. However, I rarely give the purpose much thought. If pressed, I’d probably mutter something about appearance or adding protection.
Some finishes bring out colors and grain in wood that appeals to me. Other finishes form durable surface coatings. The trouble is I end up putting the same finish on every project, no matter what it is. Mastering a finishing technique and product makes sense. It simplifies your finishing routines and reduces analysis paralysis.
Many woodworkers default to a “bombproof” finish. I began to wonder, is that appropriate for all projects? High-durability coatings attempt to shrug off the effects of daily life. However, the finish will fail eventually. But projects age with use and time, and I’ve decided to accept (embrace?) that in my decision-making.
WHAT ABOUT WAX.
A finish material I’ve been using recently is wax. You may be thinking that wax isn’t a finish on its own. However, a wax finish is one of the options used in historic work in several woodworking traditions around the world.
A wax finish enhances the color and grain of the project. We interact with furniture pieces with our hands as much as our eyes. The surface you feel with a wax finish reveals the grain and deliberate tool marks from construction more than any film-forming finish ever could.
I’ll admit that a wax finish doesn’t provide “maximum protection.” I would argue that a mantel clock doesn’t require multiple coats of lacquer in order to look great year after year. I made two worksurfaces for my office at Woodsmith that have a wax finish. More than a year later, they’re doing just fine.
A wax finish accepts — even invites — the evidence of use. The worn corners, the color change from hands rubbed on chair arms, and the various dents and dings weave together a story that adds to a project’s appeal.
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| Scoop out a small amount of wax and place it in the center of a clean cotton cloth (well-worn T-shirts work great). | Twist the cloth to form a tight ball around the wax. With a little pressure, some wax will seep through the cloth. | Apply a light coat of wax to the project. The surface should look shiny without leaving ridges of wax. |
CLEAR WAX FINISH
Getting started with wax is as simple as purchasing a can of paste wax and grabbing a few cotton cloths. Clear paste wax works on the widest range of projects. With it you get a sheen that ranges from satin to glossy.
APPLICATION.
The previous photos show one method for application. Once applied, allow the solvents to evaporate. This can take 30 minutes to an hour. It all depends on the solvent used and environmental conditions. Once dry, buff the surface with a cotton cloth, shoe shine brush, or a stiff felt block.
The key is applying the lightest possible coat. This was my biggest hurdle. I wanted to see the coat of wax on the surface. The problem, however, is that heavy applications form wax-bergs that resist polishing into a smooth surface. If this occurs, reapply some wax. The solvent will loosen the hardened wax, allowing you to lay down a lighter coat.
EASY RENEWAL.
Over time and use, a wax finish wears down. You can bring it back to life by simply applying another coat of wax.
HOMEBREWED.
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| A double-boiler works great for melting hard wax | Once the blocks of wax melt, you’re ready to add the solvent, off heat. Just a little is necessary (about 10 percent by volume). | Stir the solvent into the liquid wax in order to dissolve the two together. Keep stirring until the solution looks uniform. | Allow the mixture to cool slightly, then pour it into a container for storage and use. |
For another level of control in your projects, you can mix your own paste wax. All you need is a block of wax and some solvent. Here I’m using blocks of shellac wax. (You can find sources on page 66.) Beeswax and carnauba wax are common materials, too. The shellac wax is harder than beeswax and I like the khaki color it offers.
As for the solvent, I prefer to use turpentine, as I like the piney smell. Mineral spirits is often used. Citrus-based solvent isn’t as harsh as the others.
COLOR & AGE.
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| Tinted wax contains pigments that settle into pores and the grain to add color or simulate age. |
Clear wax isn’t your only option. Tinted waxes are available in a range of shades. The two I use are shown in the lower left photos on the previous page. These add subtle color to unfinished or existing projects.
I like using light brown-colored wax to freshen up heirloom pieces. For a more bold effect, I use dark brown (or black) wax. The pigments settle into the pores of the wood for a more dramatic effect. This tinted wax simulates the buildup of grime in the corners and crevices that you see in antique pieces.
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| Layered finish techniques benefit from a final coat of wax. Here a dark colored wax tones down the bright paint and adds an aged look to corners and seams. |
Tinted wax tones down bright colors, giving you more control over the final appearance. In the photos above, you can see how this works with a painted project I demonstrated in a recent issue.
LIMING WAX.
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| White liming wax reverses the contrast of pores in dark colored or stained pieces. It even works on plywood and MDF panels. |
Speaking of contrast, white liming wax reverses the contrast of pores, turning them white as shown in the lower left photos on the previous page. This can give lighter wood species like oak or ash a bleached look that mimics a Danish soap finish.
Our role doesn’t end when a project leaves the shop. Using wax as a finish allows for a project to age gracefully and be rejuvenated easily.
