Wood Art - Finishing

Finishing

The grain and figure of the wood interact with the shape of the piece to make interesting visual and tactile effects. The surface texture may be manipulated by sanding, scraping, scorching, weathering, or leaving it just as it came from the shaping. Processes such as sanding or rasping have one sort of effect, while cutting (planing, chiseling, gouging, or other carving) leaves the surface with a distinctively clear and fresh appearance, particularly if the tool is well-sharpened. Some finishing processes may leave a corduroy effect, where the lines of harder late wood contrast with the often paler, softer, early wood.

Each tool used to shape wood usually leaves a signature, or distinctive set of marks. For example, it is easy to tell a cut made by a bandsaw from that of a circular saw. If a smooth surface is desired, then planes, scrapers, or sandpaper are useful for "erasing" toolmarks. Sometimes it is more interesting to leave the tool marks showing. Some centuries-old violin scrolls, for instance, still carry the tool marks of the master that made them, working rapidly and efficiently.

The texture and appearance of wood grain may be enhanced and preserved by the use of an appropriate coating process, either transparent, such as varnish or opaque, like paint. The finish coats may also help seal the surface, reducing the adverse effects of humidity or sunlight. Other pieces may benefit from the use of unsealed, weathered material such as barn wood or driftwood.

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Famous quotes containing the word finishing:

    Finishing second in the Olympics gets you silver. Finishing second in politics gets you oblivion.
    Richard M. Nixon (b. 1913)

    Minerva House ... was “a finishing establishment for young ladies,” where some twenty girls of the ages from thirteen to nineteen inclusive, acquired a smattering of everything and a knowledge of nothing.
    Charles Dickens (1812–1870)

    When I am finishing a picture I hold some God-made object up to it—a rock, a flower, the branch of a tree or my hand—as a kind of final test. If the painting stands up beside a thing man cannot make, the painting is authentic. If there’s a clash between the two, it is bad art.
    Marc Chagall (1889–1985)