French polish technique

Looks really lovely Bryan, and I too would be perfectly happy with such a result.

Perhaps I too should grab myself some of the ubeaut products. Been meaning to do so.

But just to clarify re the cutting back with 1200, as per my previous question, is this dry or wet sanding and specifically what type of papers, that is automotive, wood, plaster or ? I normally only use the white papers (as per for plaster) for all my polishing, as I have found these to be more durable than just woodwork sandpapers.

Just so that you can see the level of finish I get with the technques I use, see below :). I apply the same process to the antiques I am restoring, as per how I finish all the antique joinery in my early colonial properties. The overmantle, in the pic with the blue paintwork around the chimney is made from a combination of tas oak and cedar fillets. This house is Regency (1826) hence all the reeded detail work. The benchtop in the kitchen is the only part (well floor aside) which is not shellac finished. The benchtop is done using Tung Oil, given it is a work space and wet area.

I guess my question for those in the knowledge is how much finer and/or deeper lustre could I achieve by going with the finer papers and perhaps is this necessary ? I am not criticising, would just like to learn more.

Mate

I think I would be going back to the beginning! One or two things that I picked up from this excercise was thet the better you sand the better the outcome. Sounds obvious but so true!

The other thing I noted is to try and get an even spread. The issue I had was the pad would start off with a good amount of shellac and then run out of shellac as we went along. obvious again but on a wide surface like a table top it leads to inconsistancy's. Next time I my using a spray gun out a fine camel haired brush.

The other option which is good for table tops is poly cut down to a 1/8 mix and applied in the same way.

I think it is neither here nor there what sand paper you use, I would admit the wet and dry stuff clogs up pretty bad so maybe the paint paper does work better.

Cutting back the term means to me using the cutting cream with 0000 steal wool. This really did make everything pop! All in all I like Shellac for is virtually instant drying time, with all this rain though things did drag out quite a bit. I resorted to taking it upstairs and whacking on the aircon it sped up things a lot.

I think I will use shellac on smaller pieces like boxes for instance, goes to show that FP is really a black art!

That's a great video. I taught myself out of a book a friend had. Only had access to hardware store grade shellac and metho at the time. Didn't have pumice, so skipped that bit, but the rest I found through trial and error. His advice not to work it too long in one sitting is especially sound. When you get it going right you'll be amazed to see how quickly grain can fill. I'd probably add that when you see cracks form around the grain after you leave it for a while, it is usually because you have trapped too much oil under the shellac and it is drying out. And if the surface is milky/blotchy you probably need drier air to work in. I did a beautiful job on a .22 Anschutz stock, then chased a fox about a week later, through barbwire fences, et al...you can guess the result -> :ranting2:

ouch, so i guess fox 1, barb wire fence 2 and .22 stock 0 !

oh well, can too well relate to that, what with both houses full of antiques and antique joinery restored by myself plus 5 cats. Scratches being inevitable.

Regardless of all that I will always use shellac to restore my antiques and joinery. Poly being the enemy to nice timbers.

Quote:

---

Originally Posted by Milo

The other thing I noted is to try and get an even spread. The issue I had was the pad would start off with a good amount of shellac and then run out of shellac as we went along. obvious again but on a wide surface like a table top it leads to inconsistancy's. Next time I my using a spray gun out a fine camel haired brush.
I think I will use shellac on smaller pieces like boxes for instance, goes to show that FP is really a black art!

---

It's impossible to tell without seeing but it sounds as if you are using too wet a rubber. It's always a temptation but once you have bodied up filling the grain etc the thinner the coat you put on the better. Then there is the amount of pressure you put on the rubber. At first you don't need too much pressure but as the rubber works out you also need to work harder. Besides putting on new layers, the rubber is constantly blending in the previous layers through the "cloud" of metho it carries along with it. The finish takes a while to come but when it does all you have is a thin smear of oil following the last few inches of the rubber track. You remove that of course by spiriting off.