Red Oil, Black Magic
The goal is to make the little post and rung high chair look old, well cared for, but old. Here’s what’s happened so far…
First, the chair in the “white”,
Next, a wash coat of Barn Red (Original) Milk Paint, the real stuff, milk cassein, lime and pigment:
Then a second coat:
After a good “rub down” with abrasive pads, a seal coat was applied over the milk paint. I used a “concoction” that I had been experimenting with. The ingredients were Venice Turpentine, BLO, Turpentine and Japan Drier. This is to seal the surface before the application of glazes. BLO and turpentine (gum) would have been more than sufficient (but I had this stuff…)
The “seal coat” was allowed to dry for twenty-four hours. Then I mixed a glaze of burnt umber artist color and BLO (dry burnt umber pigment would be fine, but I had this tube…). The glaze was brushed on and the excess removed immediately. This deepened the color considerably and, of course, “popped” the details.
Again the “red oil” was allowed to dry for twenty-four hours. The next step was the application of “black oil.” Black oil is simply BLO and black pigment. Carbon black, Ivory black (may be hard to find) and asphaltum are all possible pigments. But, I had some vine black that was very finely ground. “Black oil” provides a look that one would see on furniture that had been through many years of exposure to soot and grease; in other words, wood or coal fired heating. Frequently burnt umber or some other dark earth pigment is combined with the black pigment. But as I had already done a “red oil” (dark earth tone-burnt umber) glaze, I used only the black pigment.
I first learned of “black oil” from a project that Jack Plane did several years ago. Take a look at Jack’s “Mulberry” corner cabinet. Take the time and read the posts associated with the gallery. There’s an incredible amount of information.
Another coat, or two, of BLO then I’m off to weaving the seat, eureka!