Faux Bakelite?

G'day Ian - Just out of curiosity where are you getting your stand oil from or are you making it yourself? Are you using long or short oil? It has become really hard to get but I have a few liters of each, which I guard jealously for special uses.

Cheers - Neil

PS as for the affect you want I would be inclined to use an of white or cream base and apply the darker colours over the top even try a bit of sponge dab and soften it with a light rub out. Could do it pretty easily I reckon as per the sample but describing it isn't any where near as easy as doing it.

Hi Neil, I'll email you some contacts directly, but for the sake of the forum can I suggest to others reading that most "good" Art shops will sell it as its used for its leveling ability and enamel like gloss in oil painting. I'll try not to go into a mini lecture about drying oils here, but Stand oil is more an additive than a finish on its own, using it straight will guarantee a sticky mess that will attract fluff faster than a fat mans belly button. It needs to have drying agents and solvents added to make it useable.

Stand oil is a commercially made version of sun thickened linseed oil (Polymerized linseed oil), which anyone can make by putting non boiled linseed oil in an airtight jar adding glass marbles to take the top of the oil right to the top of the jar and thus excluding any oil. Seal the jar and place in the sun for a few weeks.
The oil should be clear 'long' and honey like and quite clear. Painters claim that it is less prone to yellowing than pure linseed, but I think this is more a case that it is bleached by the sun.

If you use cold pressed oil its best to wash out the mucilage by shaking it in a jar of clean cold water ie. 1/3 water, 1/3 linseed oil 1/3 airspace then letting it setle for a few hours, the mucilage should be in the water and you can just pour off the oil as it will rise to the top.

hope this gets a few folks thinking.
cheers
Ian

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Originally Posted by Ian Wells

Hi Neil, I'll email you some contacts directly, but for the sake of the forum can I suggest to others reading that most "good" Art shops will sell it as its used for its leveling ability and enamel like gloss in oil painting. I'll try not to go into a mini lecture about drying oils here, but Stand oil is more an additive than a finish on its own, using it straight will guarantee a sticky mess that will attract fluff faster than a fat mans belly button. It needs to have drying agents and solvents added to make it useable.

Stand oil is a commercially made version of sun thickened linseed oil (Polymerized linseed oil), which anyone can make by putting non boiled linseed oil in an airtight jar adding glass marbles to take the top of the oil right to the top of the jar and thus excluding any oil. Seal the jar and place in the sun for a few weeks.
The oil should be clear 'long' and honey like and quite clear. Painters claim that it is less prone to yellowing than pure linseed, but I think this is more a case that it is bleached by the sun.

If you use cold pressed oil its best to wash out the mucilage by shaking it in a jar of clean cold water ie. 1/3 water, 1/3 linseed oil 1/3 airspace then letting it setle for a few hours, the mucilage should be in the water and you can just pour off the oil as it will rise to the top.

hope this gets a few folks thinking.
cheers
Ian

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Air or oil?

Posting the info I received from my friend for how they did a bakelite effect on car door interiors and dash (1940-something Oldsmobile).

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The metal surface was primed and undercoated. It was then painted in the base brown colour to give the effect depth.

Deep Brown Printers ink from the Canberra Times was applied using coarse foam sponge from Clark Rubber. We used a manual "dabbing" application method (small sections at a time).

Heavy paper was scrunched rolled and roughly applied and rolled across the soft ink to give it a textured finish and to remove any excess. The ink was allowed to dry, it took about a week.

A clear coat of paint was then applied to seal off the Bakelite finish. Using wet and dry sand paper at 2000 grit the clear coat was cut back to a smooth finish. Brasso applied to a soft cloth in a circular motion was used to remove fine scratches. A clean cloth was then used to polish the area were the Brasso had been used to remove the scratches in the opposite circular motion.

The printers ink is the secret ingredient that worked for us.

We did find some ariticles in the Library but they had a stronger focus towards creating a woodgrain finish for car dash boards, but we did find that the principles and methods used were very similar.

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Steph

innovative and cheap(inexpensive)
amazing what you can do with a little imagination:2tsup: and i dont see why it wouldnt work on timber
Ill copy this one for the file

astrid

Ian,

Its pretty close to how I do my faux burlings, except my techniques can be completed in a couple of days.

Ian, if your interested in doing a faux woodgrain, here is one I did with a tan base coat, black grain lines, and a VDB glaze, then it was clear coated.

Any combination of colours with work, but you will need a metal grain roller to add the grain lines.

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Originally Posted by

Air or oil?

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add enough marbles to exclude the air, i meant to say, but if you can add enough marbles to exclude the oil as well send me a photo and I'll send you a prize!
:U