Description
Yellowish-brown oil for birch bark treatment of indoor wood surfaces.
The birch glaze is ready to use. It is applied on top of the glaze base (see Glaze base) and patterned with a wallpaper brush, for example, to form a striped pattern known as long straw. Or you can print a crumpled newspaper on the glaze surface to create masur birch. A third variation is to imitate flame birch with a birchbark brush. Scrub birch and flame birch are usually displaced, softened, with a displacer, but “long straw” is usually displaced.
If you want an even darker glaze, for example to draw details such as grain patterns and the like, you can add more linseed oil paint, such as unfired umber, to darken the birch glaze.
If you want to achieve a stronger surface than the birch bark itself provides, you can apply a layer of uncolored oil on top, or varnish it with linseed oil varnish, as was done in the past.
The surface in the latter case is much shinier than if you use laser oil.
1. first clean the surface to be lasered. The best substrate is a clean wooden surface, planed
or finely sanded with steel wool or sandpaper.
2. to get an even absorption and thus an even color, you should first oil the surface with a so-called semi-oil, a mixture of 50 percent boiled linseed oil and 50 percent turpentine.
Leave to dry for 1-2 days.
3. When the surface is dry, apply the glaze paint.
- Then smooth out the paint to get an even color and to avoid the paint becoming too thick. Different colors have different coverage, but the opacity is also determined by how light you are on your hand. Press the brush hard and the paint will be thinner. Be light on your hand and it will be thicker. If you want more coverage, you can also increase the amount of paint in the glaze – or paint again! But let it dry in between.
- You can see a simple birch grain in our 1920s kitchen in Gysinge, Gästrikland. No matter how skilled you are at imitating wood with a brush, the color tone will always be good. If you feel unsure, you can omit the actual wood imitation and other details and only paint “long straw” (make the surface stripy with a wallpaper brush). This alone will give the right impression and atmosphere. Always paint a sample first by preparing a masonite board on the side and painting it with glaze primer. You can use it to practice veining before tackling the real surfaces. Both glaze primer and glaze paint can now be bought ready-made in Gysinge, but we will still leave out an old standard recipe here.
- Paint a thin base coat of light yellow linseed oil paint corresponding to a maximum of 7% iron oxide yellow in our color chart. The primer is only for smoothing out the surface’s own color variations and may be thin, rough and very matte, otherwise you will just slip around with the glaze paint in the next step.
- Mix the color pigments with a little of the cooking oil to make a paste. Then stir the paste into the rest of the oil. Stir well.
- Spread the glaze paint over the primed surface. Spread the glaze evenly with a soft wallpaper brush. Flame some areas, e.g. mirror fillings, with a birchbark brush
- or a folded piece of newspaper. Paint the rest as a “long straw”, i.e. spread the glaze with the wallpaper brush to form a striped pattern.
- Wait for a while until the color “sets”. Then soften the mottled pattern by gently brushing the surface with displacer.
- Leave to dry. If possible, apply a second thin coat of unpigmented oil to the entire surface. This will make the surface even more resistant to wear.
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