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Finishing manual
Natural finishing
supplies for wood

Natural Finishing Supplies
Wood is a beautiful material. What could be more natural
to protect its beauty than using the finishes provided by
nature? Therefore we will present pure natural products for
natural finishing in this brochure. No matter whether you
will mix the finishes or use them purely – you will always
know its content.
Vegetable oils
Vegetable oils are proven finishes to protect the wooden
surface. They are extracted out of vegetable raw materials,
e.g. linseed oil is extracted out of linseed, tung oil out of
the tung nut, walnut oil out of walnuts or soy bean oil out
of soy beans.
Advantages of oiled surfaces
1. Breathable: the oiled surface remains breathable and
keeps its warm and tactile nature.
2. Hardening of the surface: since the oil takes quite
long to harden, it can deeply penetrate and thus harden
the surface.
3. No brittleness and cracking: The surface is inured
to deformation by extension or shrinking.
4. Easy to repair: slight damages or erosion can be
corrected with the same oil by polishing.
5. Lightening the grain:
Oils will emphasize the
grain of the wood and
emphasize its natural
beauty.
6. Ecological:
Oiled surfaces are very
environmentally friendly.
Usually drying oils are used that harden when getting in
contact with oxygen, e.g. linseed oil or tung oil. The drying
is effected by the reaction of the contained fatty acids
with oxygen, therefore these oils are often called fatty oils.
They can be used purely or reduced. These oils are the basis
for many usual varnish. Mostly pre-oxidized oils or drying
accelerators are used to speed up the drying. As dilution
2

and aromatic enrichment thin and volatile oils like balsam
oil of turpentine or orange oil. Used only pure they are not
suitable for the finish of wood. Then there are non-hardening
vegetable oils, like Camellia oil. They can be used as
polishing oil or antirust agents for metals, they are not very
suitable for long-lasting wood preservation. Vegetable oils
can be mixed in order to achieve specific characteristics.
Drying Accelerator
Drying accelerators, also called siccatives, are added to
most of the purchasable oil mixes in order to reduce the
drying time. The catalytic effect is created by metal joints
(cobalt, heavy metals oxides). This way the oil is no longer
environmentally friendly. Besides the penetration is reduced
by shortening the drying time and thus the long-lasting
protection. Therefore we recommend to not add any
siccatives.
Surface
You can oil all natural finished, grinded or polished and dry
wooden surfaces. Best suitable with a grit of 180 – 220 and
a wood moisture of less than 12°. Open-pored woods like
rosewood and wenge should first be treated with grain fillers.
Layer composition
It is vital to first apply the soft and then the harder part,
e.g. first shellak ground then oil and finally wax. If it is
necessary to apply several oil layers the first application
should be reduced. The following layers should only be
applied once the previous one has tried and the finish has
been done.
Mineral and animal oils
In addition to the vegetable oils mineral oil derivates are
also used as wood preservation, e.g. paraffin oil, which are
usually the basis of many hard oils. Several culture groups
traditionally used animal oils, like fish oil. These oils will not
be considered in this brochure.
Security advice
All curing oils can heat up during polymerisation. If the
cloth is still wet or oil-soaked a risk of spontaneous ignition
is likely! Please store in closed containers or under water.
3

Linseed Oil
Swedish Linseed Oil Swedish Linseed Oil
Ra Linolja®, raw Linolja®, Sun-bleached
Derivation
Linseed oil is made out of the seeds
of the flax plant (Linum usitatissimum),
cold- or warm-pressed or by
Flax seed
extraction. It is sold in different forms: pure, as stand oil
(heated), preoxidized, as varnish, bleached or resinated with
drying accelerators. The Swedish linseed oils we offer are
extracted by a gentle cold press. They stand out due to their
very high percentage of natural linoleic acids, which accelerate
the drying properties. These are pure food safe natural
products without any chemical additives.
Properties
As curing oil linseed oil has ever been the basis of most
of the varnishes and wood protection oils. Linseed oil
emphasises the grain, protects against moisture and dirt,
is easy to use and highly environmental friendly. In the long
term an intensification and darkening is to be expected.
The surface is hardened by the bonding of Linoxyn and it
will become mechanically robust.
Maple surface
Left: untreated surface (cleaned with a plane). Centered: treated with Swedish
Linseed Oil. Right: treated with Alkanna toned Swedish Linseed Oil
Ra Linolja
Since it takes quite long for the raw Linseed Oil to dry
(1 – 4 weeks) it deeply penetrates into the wood surface.
4

Flax flower in Sweden
Linolja
Once the Linolja has been cold-pressed it is exposed to the
sun and thus bleached and preoxidized. Therefore it is very
transparent and dries much quicker than raw Linseed oil.
(Drying time according to environmental conditions and
surface one to several days).
Use
We recommend the Linseed oil surface especially for
interiors: furniture with slight and medium exposure,
wooden parts with body contact (kitchen, cutting board,
handles, toys, musical instruments) and in sensitive areas
(children´s room, bedroom, sauna etc.).
Any mixtures with other vegetable oils (with wax or rosin)
is possible. But usually the Linseed oil is heated in order to
improve the solubility.
Bowl by Wille Sundqvist, Nordic Masur Birch,
soaked with Linseed Oil and polished.
Application
The application of the Linseed Oil should be done across the
grain using brushes or cloths, it should be polished along
the grain.
Add-on of scented oils
To create a pleasant smell 5-10% of Orange oil can be added.
Deep impregnation
Small objects with high exposure (e.g. handles or wooden
spoons) can be deeply impregnated by completely soaking
the object for several days into Linseed Oil.
5

Example for high-quality Linseed Oil layer coating
Polish the surface (grind 180 – 240), wet with water, let it
dry and repolish it with a grind of 240 – 330. First application:
heat the Linseed Oil slowly up to 55°C (if possible in
water bath) or thin with 20% Balsam oil of turpentine. Let
it soak in for 1 hour and wipe it off. Intermediate sanding
after drying (about 1 day) with 320 emery cloth. Second till
fourth application without thinning and intermediate sanding.
After several weeks of drying polish with a lint-free
cotton cloth. Polish about 2 times per year with beeswax.
Linseed Oil Egg Tempera
Whisking the water-insoluble Linseed oil with egg it will be
solubilised to a water-soluble tempera. This painting media,
which was already famous with renaissance painters, is
excellently suitable to make colours (by adding pigments),
that feature ageing resistance and wipe resistance.
Recipe suggestion (according to Wille Sundqvist):
Linseed oil/egg = 1/1 whisk, add one to two parts water, in
order to improve the durability add about 2 -5 % balsam oil
of turpentine & pigments according to requirements.
Consume shortly or store in the refrigerator.
Ra Linolja® Linolja®
1 liter No. 705354 1 liter No. 705275
5 liter No. 705355 5 liter No. 705269
6

Swedish red, iron-oxide pigment
Derivation
Original Falun Red was a
byproduct of copper mining
and consequently had a
high heavy-metal content.
Today, it is increasingly
being replaced by an iron-oxide pigment that is nearly
identical in color, free of toxic matter and has a similarly
effective protective function. In a water or linseed oil emulsion,
it easily becomes a high-yield, breathable, natural
color that protects wood from UV rays and pests.
Use
It defines the landscape of Sweden: The warm rust color of
wooden barns, houses and churches not only blends harmoniously
with the green of the natural surroundings, it is
also an effective wood protector.
Recipe suggestions
Red protective coat for exterior walls (the oldest color of
Scandinavian exterior paint): Pine oil + 10-20% iron-oxide
pigment. Fertility approx. 3-5 qm/l.
Water-based red paint: 10 l water, 750 g white or rye flour,
3 kg iron oxide, 300 g green vitriol (iron (II) sulfate (can be
obtained in pharmacies), 1 l linseed oil, a bit of soft soap.
Mix the flour with 2 l water until there are no clumps.
Bring 8 l of water to boil. Stir the flour mixture into the
boiling water and continue to boil for 15 minutes, stirring
continuously. Add the iron oxide and cook for a further 15
minutes while stirring. Add the linseed oil and soft soap (as
emulsifier) and cook for a further 15 minutes while stirring.
After it has cooled, it may be used (or thinned).
1 liter yields ca. 3-5 m²/l.
1000 g No. 705344
7

Lignea® - Chinese Tung oil
Derivation
Lignea is a 100% natural product obtained from the nutlike
fruits of the Chinese tung tree (aleurites fordii). Due to
its excellent protective qualities, tungoil has for centuries
been simply known as “wood oil”.
Properties
Tungoil is relatively viscous and has a distinctive nutty
odour which disappears during drying almost completely.
Tung oil is absorbed by wooden surfaces very quickly and
hardens them after it has dried, making them mechanically
stronger and highly water-resistant. It provides approximately
twice as much protection as linseed oil. It deepens
colours and enhances the contrast of the grain, but the
wood retains its natural visual and tactile characteristics.
The protective film is elastic, even in the long term, and, in
contrast to linseed oil, darkens very little. If the finish becomes
damaged, it can be easily retouched by rubbing more
oil over the damaged area.
Use
Lignea is suitable to protect wood indoors and outdoors, e.g.
for furniture, garden furniture, fences, rust, timbering, espalier,
flooring, turned pieces, musical instruments, wooden toys
and wooden boats.
8
Tung-Nuts
Having oiled the surface the grain will be very much emphasised, above all the
contrast between grain-cut and cross-cut timber. The picture shows an ash
table top with cones by Charles Beresford, shellac base coat and two layers of
balsam oil of turpentine mixed with 10% orange oil.

It can also be used for the protection of cloths and even brickwork
(thanks to a complete coat of Tung oil the Chinese Wall
has been so well preserved). A thin coat of Tung oil has also
proven as anti-corrosion varnish for metals, e.g. low carbon
steel, bronze or brazen parts. Lignea is easy to apply – even in
several layers – with a brush to cloth. It can be thinned with
balsam oil of turpentine or be mixed with other vegetable oils
according to the user´s preference.
Example of use
Ornamental wood
(Turnery, carving, wooden jewellery) Tung oil /Camellia oil /
Orange oil = 10/1 /0,5 Good penetration, very well polishable
and protection against dirt.
Outdoors
(Wooden decks, fences, garden furniture etc)
First layer: Tung oil, Balsam oil of turpentine = 10/1, intermediate
grinding. Further two to four layers: pure Tung oil,
undiluted. Very good weather protection.
Indoors
(Floring, stairs, furniture etc)
First layer: Tung oil, Balsam oil of
turpentine = 10/1, intermediate grinding.
One to three further layers: Tung oil/ Linseed
oil / Orange oil = 10/2/0,5 or Tung oil/
Beeswax / Balsam oil of turpentine =
10/0.5/1 (first dissolve
the Beeswax
in Balsam oil of
turpentine) or
Tung oil/Orange
oil = 10/1 very
fine and odorant
surfaces with
very good
abrasion and
dirt protection.
Stool from Peter Hook,
treated with Tung oil
mixture
9

Tung oil as grain filler
Pure Tung oil can also be used as grain filler. Apply a thick
layer and let it soak in without wiping off the excess. Let it
dry until it has become viscous. Now rub in the thickening
oil with a cloth and take wipe off the excess. Having dried
the procedure can be repeated up to five times depending
on the necessary density and transparency.
Drying time
Lignea is not pre-oxidised and due to ecological reasons
not mixed with chemical drying accelerators (siccatives).
Therefore a longer drying time is to be expected (1/2 day up
to several days). The drying time depends on the environmental
conditions, type of wood and pre-treated surface.
In case of treating medium density fibreboards or similar
materials the drying time might be prolonged due to the
deep penetration of the oil (and missing contact with
oxygen).
�
Pure Tung oil is quite viscous, the penetration behaviour
can be improved by thinning or heating it.
We recommend to thin the oil with Balsam oil
of turpentine (10% - 50%) when applying it for the first
time.
Do not apply the Lignea Tung oil in the blazing sun and wipe
off any excess maximum ½ hour after application. Do not
apply the Lignea Tung oil to wet wood (maximum 15 %
wood moisture).
The pure and liquid Lignea Tung oil has a nutty odor, which
wears off after having dried or if it has been mixed with
Orange oil or Balsam oil of turpentine.
We do not recommend the Tung Oil for compact furniture
like drawers or the inside of closet. In liquid state (during treatment)
Tung Oi may cause irritations
or allergical reactions when getting
in contact with the skin. We recommend
to wear protection gloves.
Once it has completely dried the oil
film is chemically stable and free
from harmfull emissions.
10
1 liter bottle No. 705286
5 lter bottle No. 705283

Poppy-seed oil
Derivation
This oil which is extracted from the seeds of the white
poppy flower (Papaver somniferum), was ever since the
most important natural binder for high quality paint oils
and artists colours.
Properties
Poppy-seed oil belongs to the drying oils. But drying times
are very long (up to two weeks per application), the final
hardness is less than that of Linseed oil. The main advantage
compared to other vegetable oils is, it does not yellow.
Multiple coats of poppyseed oil yield a warm, silky gloss and
a surface which is pleasant to the touch. Poppyseed oil is
food save and can be mixed with other natural oils and
paint thinners.
Application
Thanks to its high transparency poppy-seed oil is the basis
for violin varnish and other clear wood protection varnish.
It protects against moisture and dirt and
tightens the wood surface due to its
deep penetration. We recommend it for
handcrafted items, turned objects, toys
and kitchen utensils. Because of it` s
good grip on surfaces it is suitable for
kitchen knife and tool handles. In combination
with pigments it can be used
to make colour oils and artists´ colours.
1 li ter bottle No. 705272
5 li ter bottle No. 705268
Squirrel hair brush
For applying shellac, fine
oil varnishes and water
colours. Very best quality,
made from the tail hairs of Siberian squirrels.
Length 190 – 205 mm
Head width approx. Head width approx.
13 mm No. 706109 38 mm No. 706111
25 mm No. 706110 50 mm No. 706112
11

Sinensis® - Chinese Camellia Oil
Derivation
Sinensis is pressed out of the seed of
the Chinese Camellia Tree (Camellia
Sinensis). It is a pure natural product
without any chemical additives.
camellia seeds
Properties
Camellia Oil is a non-drying oil of clear to yellowish colour.
It is quite thin, not volatile, food safe and odourless.
Use
Finishing
Applying it to wooden surfaces the low viscose oil will
quickly absorb and improves the polishability. It is clear, will
not discolour and serves to accentuate the wood’s natural
beauty. It does not
harden and is thus
only a limited
protection against
humidity and dirt.
But it can be used to thin viscous wood oils, e.g. Tung Oil
in order to improve the application and penetration.
Varnish
Camellia Oil can be used to oil the cloths when doing
French polishing. When polishing oil varnished surfaces
pumice powder or triple powder is used as grinding material.
In this combination Sinensis oil is also very suitable to
clean and polish old varnished surfaces of antiques or
music instruments.
Corrosion protection
Camellia oil is acid-free and not volatile, making it the
ideal oil to protect tools, knives and firearms from rust. It
is especially well-suited for the preservation of kitchen
knives made of high carbon steel. Applying it very thin
with a cotton cloths or paper card web will be sufficient.
12
Knife handle by Maikal Eklund

Lubrication
Since Sinsensis does not harden and features little surface
tension it is very well suited as lubricant of small joints and
mechanic parts, e.g. sawing machines, folding knives, toys,
fishing reels as well as tools.
Body care
Camellia oil makes an excellent
base for the preparation of
lotions, creams and soaps. Used
as massage oil it makes the skin
smooth. Japanese Geishas have
always used it as hair oil. The
traditional Chinese medicine
grants it to have numerous
homeopathic effect.
camellia tree
Adding 5% of Orange oil will give the Sinsensis oil an
aromatic scent, which is very pleasant when being
� used as body care of wood finish.
Applying it to plane soles, Sinesis improves the sliding on the
workpiece area and the penetration behaviour of chisels into
the wood.
100 ml glass bottle No. 705280
250 ml glass bottle No. 705281
1 liter storage bottle No. 705282
Polishing and cleaning fabric
Finely woven tubular fabric made of tough, lint-free,
terry-cloth-like cotton. Ideal for
polishing wood and varnish
surfaces, for cleaning as well
as for packaging fragile items.
20 metres per roll No. 810008
13

Orange Oil
Derivation
Orange oil is extracted as pure oil
without any chemicals additives from
the peel of the sweet orange (Citrus
Sinsensis).
Properties
Due to its intensive and refreshing scent it is used in aromatherapy,
as additive in scented oils, bathing oils, creams and
soaps. Due to its strongly fat-dissolving properties it is a very
effective and ecological cleaning and caring product for
wooden and plastic surfaces. It is also suited as dissolver and
thinner for oil paints and as paint brush cleanser. It can be
mixed with any vegetable oils, e.g. Camellia Oil, Linseed Oil
or Tung Oil, to which it lends a pleasant and vitalising scent.
Recommended use
We recommend to add 5-20% of Orange Oil to Tung Oil if
used inside to ease the strong scent. Besides the Tung oil
becomes thinner and thus can be better applied and penetrates
deeper into the wood. In combination with carnauba
wax or beeswax it can make a variety of agents for cleaning
and caring for wooden surfaces and leather.
Notice
Orange oil may cause light-coloured wood or untreated
wood surfaces to discolour. The high citrus acid content
found in pure orange oil may irritate the skin and mucous
membranes.
14
250 ml glass bottle
No. 705277
1 liter storage bottle
No. 705278

Balsam Oil of Turpentine
Derivation
The Balsam Oil of Turpentine is obtained
by double-distilling the resin of the
maritime pine tree. Being one of the
most valuable solvents on a natural
basis it has always been used in pain-
Pine cone
ting and handcrafted application. Do
not mistake the Balsam Oil of Turpentine with the
so-called “White Spirit”, which is a mineral oil product.
Properties
The thin oil is colourless and has a fresh essential scent.
It residue-free volatilizes from the respective painting when
drying. Normally the drying time will be increased when
adding the Balsam Oil of Turpentine, as the oil penetrates
deeper into the wood.
Use
We recommend to use the Balsam Oil of Turpentine to thin
vegetable oils (Camelia Oil, Tung Oil, Linseed Oil, Pine Tar Oil
etc) and oil paint, varnish, paint base as well as to dissolve
rosin and wax and to produce lacquer and polish. It can also
be used as cleaner for brushes or cleanser.
Notice
Please observe the normal safety precautions for the
use of volatile solvents containing hydrocarbons.
Extensive applications inside are only to be made when
adequate airing and drying-out time is provided. Allergic
reactions are possible when getting in contact with the
mucosa. Balsam Oil of Turpentine
should be stored lightproof. It is
perishable when getting in contact
with oxygen.
1 liter storage bottle
No. 705288
15

Worth reading
Oberflächenbehandlung von Holz No. 713739
Classical techniques and formulas,
by Sam Allen. Treating wood with oils,
resins and waxes makes wood easier
to care for and accentuates its natural
beauty. Sam Allen has compiled all
the traditional methods and recipes
for treating wooden surfaces.
In addition to a very thorough
description of French polishing with
shellac, Mr. Allen also addresses the
use of varnishes, oils, waxes, abrasives, stains and casein
based paint. 128 pp., 165 colour illustrations, hardcover,
210 x 255 mm, in German.
Behandlung von Holzoberflächen No. 713360
By Derrick Crump. Nothing is more
disappointing than a complex surface
treatment which does not have the
desired result. This book helps you
avoid mistakes with a thorough introduction
to the chemistry of stains,
paints, oils and waxes and their correct
use, as well as surface preparation.
176 pages, over 300 illustrations,
hardcover, 197 x 272 mm, in German.
Naturfarben Handbuch No. 713253
The authors of this book have dug
deeply into nature’s bag of tricks to
come up with this collection of the
best natural paints and glazes for
finishing wood. The properties of
various natural pigments, binding
agents and solvents are provided
along with numerous recipes and
finishing techniques. 190 pp., numerous
colour illustrations, hardcover,
190 x 290 mm, in German.
16

Vom Färben des Holzes No. 713757
By Hans Michaelsen and Ralf
Buchholz. Almost 2000 historical
recipes suitable for staining and
coloring wood, ivory, bone, horn
and straw. To facilitate a better
understanding of these antique
recipes, several of the techniques
they reference are additionally described
and detail descriptions of the
properties of various ingredients are
also provided. 220 x 229 mm, 800 pages,
hardcover, 387 color and 231 b/w illustrations, in German.
Handbuch Möbel aufarbeiten No. 713860
By George Buchanan. Buchanan
guides readers through restoration
cases of varying difficulty step-bystep:
from easy to restore tables, to
chairs, chests of drawers or almost
destroyed pieces. A well-illustrated
reference work for beginners and
professionals. 300 pages, approximately
1000 drawings and some
colour panels, hardback, 170 x 240 mm,
in German.
Intarsien No. 713721
Techniques and design step-by-step,
by Jack Metcalfe and John Apps.
This technical book promises an
easy introduction to the art of
inlays. In addition to presenting a
wide range of materials, tools and
techniques, the path to completion
is explained in twelve courses. The
many objects, with instructions on
how to make them yourself, give
you ideas to deepen your newly acquired skills.
176 pages, 386 colour illustrations, softcover,
190 x 248 mm, in German.
17

Swedish Pine Tar Oil
Derivation
Tar oil, extracted from the tar-rich rootstock of pine trees
by charring and careful distillation, is one of the oldest
wood-protecting agents.
Properties
The thick oil has a strongly smoky aroma, dries very slowly
and deeply penetrates into the raw wood. It provides a
long-term protection against decomposition, fungal or
insect attack. Depending on the distillation the oil has a
light brown to dark brown colour, which gives the wood a
beautiful, antique patina. The oil can be mixed with Linseed
Oil and dilutable with Balsam Oil of Turpentine. Adding
iron-oxide pigments an original Swedish red paint can be
achieved (see page 7).
Application
In Scandinavia it has been used to coat houses, shingles,
fences, equipment, sleighs and boats for hundreds of years.
Pine-tar oil is ideal for protecting the handles of axes and
other equipment, since it allows the wood to breathe and
improves the grip.
Furutjära® pine tar
A very rich and thick oil of dark colour. Given this oil's
strong, smoky aroma, we recommend it only be used
outdoors.
1 liter No. 705347
5 liter canister No. 705349
18

Dalbränd Tjära® fine pine tar
This high-quality wood tar is somewhat lighter and thinner
than Furutjära pine tar and emphasises the grain more.
1 liter No. 705351
5 liter canister No. 705352
�
To reduce the smoky scent we recommend to add
the Orange Oil and singeing after drying when
applying it inside.
untreated treated with treated with
Furutjära® Dalbränd Tjära®
Wood shingles on
a Swedish church
preserved with tar oil.
19

Rosin and Wax
Shellac
Derivation
The base of shellac is
an exudate of secretion
from East Indian scale
insects (Coccus lacca),
which is processed to a
thin rosin. The qualities
differ according to the
purity, wax content and
coloring. In order to
apply the shellac it
has to be dissolved in
alcohol.
Properties
Shellac is notable for its hardness, transparency and bonding
strength. Its excellent insulative properties make it the
substance of choice for use in traditional gilding (as a primer
coat and fixative). French polishing is an incomparable
way of bringing out the beauty of the wood. It creates a
mechanically wear-resistant, physiologically compatible
finish that does not become brittle and is of constant
colour. Defective torn parts can be easily repaired by polishing.
Shellac surfaces can be corroded by chemical cleansers
or alcohol, but are quite insensitive to water and moisture.
Application
We recommend to produce a liquid solution as follows:
1/1 till 1/2 with alcohol (pure ethanol, at least 96 %).
The full dissolution of the wax can take several days,
depending on the temperature. Stir the solution well at
least 4 times a day.
The most important additive of French polishing is the
cloth rubbing pad. It consists of a wool centre, wrapped in
a lint-free cotton or linen cloth. The polishing and cleaning
fabric (see page 13) has proven as very useful (it can also
be used without the wool filling). For each polishing a
separate cloth is necessary.
20
Hand-polished shellac table by Robert Zerzawy
(Ebony, amboyna-burl inlaid)

The composition of the shellac surface consists of the
following steps:
Basic polishing: porefiller with shellac and pumice
powder.
Cover polishing: the layer structure is to be achieved in
several rounds with intermediate drying until a compact
surface has been achieved (approx. 2 – 6 layers, depending
on the wood and pretreatment).
Polishing: mix the shine polishing with a light solution,
possibly with benzoin rosin or benzoin paint. The exact
procedure would be too detailed for this brochure. It can
be best thought in one of our workshops (please see our
brochure). French polishing is also very well suited to be
used as base coat for oily or wax surfaces. It hardens
the wooden surface and prevents it from volatilising. The
shellac solution cannot be mixed with other oils. Therefore
the shellac base has to dry well before the oil is applied.
Astra shellac - Bleached, highly
transparent shellac, for clear
polishes.
250 g No. 810030
1000 g No. 810031
Komet shellac - Orange-coloured
shellac for polishes that display
a slight tinge.
250 g No. 810034
1000 g No. 810035
Superior shellac - Reddish shellac
for polishing with marked tinge
and for accentuating the grain.
250 g No. 810037
1000 g No. 810038
DVD: Introduction to
French Polishing No. 713753
Peter Zehmisch, a master furniture
restorer, describes the French polishing
process in detail, relying on his
many decades of experience working
the field. All of the individual steps -
surface preparation, pore-filling, padding and final
polishing - are discussed in detail. Approx. 21 minutes,
in English.
21

Urushi (Authentic Japanese Varnish)
Derivation
It is made from the natural resin of the Asian tea tree
(rhus vernicifera) and has been used in Japan to protect
and lend a beautiful gloss to furniture, bowls, boxes,
handles and jewelry for over 6,000 years.
Properties
Once fully hardened, Urushi varnishes are resistant to
water, heat, alcohol, acids, bases and solvents. In addition,
Urushi varnishes are not susceptible to wear and are 100 %
natural. Any number of coats can be applied, without the
risks of cracking or granulation. Urushi can be applied to
almost any surface, including wood, clay, fabric, paper,
metal or plastic and can also be burned on.
Application
Japanese Urushi embodies the art of varnishing in its
highest form. It can be used for varnishing newly made
objects as well as for restoring antiques and can also be
used for setting inlays. Colored Urushi can either be used
directly out of the tube or made by mixing pigments into
transparent Urushi.
Note: It requires special varnishing techniques and must be dried at a constant
humidity. For a single varnish coat, primer, pore filler (Tonoko), Urushi
and Tsunoko polish are required. Balsam turpentine can be used to thin
Urushi. Comes with instructions for use, which can also be looked at in our
webshop www.more-than-tools.de at the corresponding article. Urushi can
cause skin and mucosa irriations when being liquid (not when having
dried).
Urushi (100g-tube)
Primer transparent (Ki) No. 716240
Varnish transparent (Jo-Shuai) No. 716241
Varnish red medium No. 716242
Varnish black (Jo-Kuro) No. 716243
22

Handicraft courses
Handicraft at its best – the more than 200 courses are held
by highly qualified tutors. Kindly ask for the complete free
workshop brochure at www.more-than-tools.de
Surface finish
(2 days, approx. 16 hours)
Content: finishing of wooden
surfaces with traditional
materials like wax, oil and rosin.
Choosing the right finish is
often very difficult – even for
professionals. We will demonstrate
which finish is most suitable
for the various kinds of wood and how to use them.
In German.
Acoustics and lacquering for
making a violin (4 days,
approx. 32 hours)
Content: introduction to
lacquering, the necessary raw
materials to prepare the lacquer,
preparation of lacquer,
spirit lacquer, oil lacquer, prestaining,
staining. Application
of the basic lacquer and the coloured licquer, polishing of
the lacquer. Various methods of analyzing and affecting the
frequencies of the wood: picking, Fuhr method with glass
tubes, Hutchinson method with frequency regenerator etc..
In German.
French polishing
(3 days, approx. 24 hours)
Content: material science,
preparation of the lacquer and
surface, making of the cotton
cloth, polishing of a board (60
x 80cm) several times (basic
polishing), cover polishing and
special technology. During the
drying time you may discuss difficult cases, sources of error
and questions regarding restoring (you may also bring your
own furniture with you). In German.
23

Propolis 100 g No. 810012
Derivation
Propolis is a rosin which is secreted by the gland of honey
bees in order to glue combs.
Properties
The resinous cement collected by bees to stop up crevasses
in their hives has been used by humankind since ancient
times both as a natural medicine (for its anti-inflammatory,
antibacterial and antiviral effect) and as an ingredient in
fine wood varnishes and oils. None other than Stradivarius
used propolis to improve the flexibility, durability and visual
appearance of his varnishes. Propolis also has a very pleasant
aroma, attributable to the pine and poplar resin it contains,
which makes it an excellent way of enriching any
homemade finish.
Application
In addition, its natural antibacterial and antifungal effect
makes propolis, in combination with a food safe oil (e.g. our
Swedish linseed oil) the perfect choice for treating wooden
household objects which come in frequent contact with the
skin, such as kitchen utensils, cutting boards, sauna and
bathroom furniture and children’s toys.
Pure Propolis Varnish
Mix 300 - 400 g of propolis with 1 liter of high percentage
ethyl alcohol (spirit alcohol 98% or stronger). Let the mixture
steep for 8 - 14 days, shake several times a day. Pour
the dissolved solution (without dregs) off and filter it (e.g.
using a doubled nylon stocking). The resulting pure propolis
varnish can be applied directly to wooden surfaces. It
hardens relatively slowly and yields a yellowish brown color.
Tincture
This pure propolis-alcohol solution, once mixed with 70%
water, has proven to be an effective “tincture” for medicinal
use (to treat wounds and as a disinfectant, pain reliever
and immune system booster).
24

Marple-surface
Left: untreated (finished by plane). Right: varnished with Propolis-Linseed Oil
varnish
Propolis-Linseed Oil Varnish
Ratio by weight of linseed oil / beeswax / propolis = 8 / 2,5 / 4.
This recipe yields a high quality, pleasant-smelling and
ecologically friendly varnish for wooden objects which come
in frequent contact with skin, e.g. children’s toys, bathroom
and sauna furniture, kitchen utensils, wooden spoons, etc.
We recommend using a linseed oil which is free of chemicals,
such as our Linolja oil (No. 705275). To make the varnish,
first warm the linseed oil to ca. 60° - 70° C and dissolve
the propolis in the oil. Next, filter the solution and mix the
beeswax into the warm solution. To improve the varnish’s
resistance to water, 10 - 50% Chinese tung oil (Lignea, No.
705286) may be used. The hardness of the varnish can also
be increased by replacing some of the beeswax with the
harder Carnauba wax (No. 810009).
Russian Varnish
Ratio by weight of linseed oil / beeswax / propolis = 4 / 1 / 2.
A variation of the varnish described above which displays a
higher degree of hardness, primarily used for restoring
antiques or objects subject to heavy wear. Directions as
above.
Hardening
Addition of resins such as mastic, sandarac or shellac will
increase the hardness of the varnish coat and make applying
the varnish easier.
De-Waxing
The wax dissolved in the propolis-alcohol solution can be
removed if a finish with a higher degree of hardness is
desired. Simply cool the solution until the wax solidifies
at the surface are remove it from the solution.
Hardening
Addition of resins such as mastic, sandarac or shellac will
increase the hardness of the varnish coat and make applying
the varnish easier.
25

Beeswax
The secretions of the glands
found on the abdomen of the
bee, known commonly as
beeswax, have been used since
ancient times for gluing, polishing and preserving wood.
Research has shown that the planks which made up the
hulls of Punic warships were treated with pure beeswax
almost 2000 years ago to protect them from the corrosive
effects of saltwater. When slightly heated (max. 70° C) and
in its pure form, beeswax can be used to penetrate and
treat many types of wooden surfaces. Beeswax can be
mixed with oil, alcohol or turpentine to produce a variety of
polishing and cleaning pastes and liquids. A well-proven
finish consists of a primer coat of linseed oil and single or
multiple coats of a 1 / 3 mixture of linseed oil, turpentine
and beeswax. Surfaces treated in this manner have a beautiful,
satiny appearance, are relatively resistant to wear and
can easily be retouched and refinished. Apply the wax solution
in a thin coat and polish immediately, across the grain.
500 g No. 810006 1000 g No. 810007
Paraffin wax
Extracted from mineral oil,
paraffin wax is colourless, solvent-free,
and water-repelling.
It is used for sealing end grain,
in wood turning, for mixing
with beeswax, as a preservative
for wood and metal, and for lubricating moving parts
(e.g. plane soles, thread box).
1000 g No. 810016
Carnauba wax
The leaves of the carnauba
palm native to Brazil secrete
a greyish-yellowish protective
wax known for its hardness
and excellent physiological properties. This carnauba wax is
often used in cosmetic products and can be used to add
hardness to beeswax polishes, improving their resistance to
wear and glossiness. Carnauba wax is also well-suited for
lubricating moving wooden parts and protecting metal
26

parts from corrosion (similar to beeswax). The wax offered
here is unbleached and has a melting point of approximately
90° C.
A recommended wax polishing paste:
carnauba wax / beeswax / turpentine: 1 / 2 / 2.
500 g No. 810009 1000 g No. 810010
Yew vessel made by Lüder Baier, waxed and polished.
Kirjes® natural oil wax
The wax of the bearberry (arctostaphylos
uva ursi) makes the organic
Swedish finishing wax from
Kirjes® a high-quality, organic
wood protector. After sanding,
apply (preferably warm) to the wood
surface, rub it in with a scrub brush
and polish it with a cloth. It emphasizes
the wood's natural beauty and protects it from dirt and
moisture. Drying time is 2-4 days, and within 2 weeks it
hardens completely. Other ingredients include beeswax and
Swedish linseed oil. It is free of chemicals and solvents.
300 ml No. 705356
27

-HolzBalsam
Through and through natural
for a silky gloss: Wax for
reserving wood. Contains a
high percentage of all-natural
bee wax. HolzBalsam contains
pure natural ingredients which
preserve the wood. It is free of chemical substances,
mineral oil derivatives and drying activators. The ideal
natural preserver for toys, kitchen equipment, turned
wooden objects, wooden furniture, wooden floors, carved
items and all handicraft objects. Valuable substances out
of nature underline the beauty of a wooden surface with
a silky smooth touch. The pleasant smelling palm made of
ingredients such as bee wax, carnauba wax, linseed oil,
tung oil and orange oil not only preserves normal wooden
surfaces. It is easily spread on cork, smooth leather and
metal for protection against moisture.
300 g No. 705350
Natural dyes
Alkanna root
Derivation
The alkanet root has long
been used to produce red to
reddish-violet alkannin dyes.
The granulate offered here is obtained from the lower bark
and root of a borage-like plant (alkanna tinktura) native to
Europe.
Properties
The dying agent present in alkanet root dissolves well in oil
or alcohol and bonds well to organic materials, such as silk,
cotton, leather, wood, skin and hair. For this reason, it is
particularly suited for colouring wood oils and oil varnishes.
Use
The dying agent is going to be extracted by preparing a
dissolution of the chips in ethyl alcohol (10g – 20g per
100g alcohol), constantly stirring and finally filtrating. This
concentrated dissolution can be added to the oil as needed.
Another method is the direct boiling of the root granule in
linseed oil. Put the chips into a linen bag and then into the
linseed oil, max. heated up to 80°C. The intensity of the
28

dying depends on the duration, temperature and stirring.
The extracted coloured oil accentuates the wood´s natural
beauty of all bright wood and prevents it from becoming
yellowish, which is a typical side effect of linseed oil
(formula according to Mr councillor of commerce Hartl,
conservator in Laxenburg, Vienna).
100 g No. 810024
Dragon´s blood
Dragon's blood resin is
obtained from the fruit of
the Asian Daemonorops draco
tree. Dissolvable in spirits or
water, it delivers a striking blood-red stain that can be used
to color violin varnishes, oil varnish or watercolors, as some
examples. It can also be used in its pure form.
50 g No. 810021
Benzoin
Derivation
The pure benzoin tears
('almonds') offered here
are harvested from Styrax
trees in Siam. Incisions made in the tree's bark cause sap to
exude, which hardens upon exposure to air.
Properties
Benzoin is a mid-strength fragrant resin. Due to its pleasant,
vanilla-like aroma, it is a favoured ingredient in perfumes
(Chanel No. 5), aromatic oils, ointments and incense.
Due to its anti-inflammatory and antibacterial effect it is
also used in naturopathy.
Use
To produce the lacquer a lotion is made by dissolving the
benzoin in ethyl alcohol (40g benzoin per 100g alcohol).
This lotion is going to be added after filtration to vegetable
oils. It improves the brushability and gives the oil a pleasant
scent. When worked into a varnish, benzoin creates a glossy
finish for shellac surfaces or high-quality oil-varnished
surfaces.
100 g No. 810023
29

Additive
Soda
For hardening leather and
other purposes, such as forming
bone plates or wood
veneers. The alkaline properties
of soda (natrium carbonate)
also render it useful for removing greasy residues,
cleaning and bleaching, and it is used in the manufacture
(maceration) of colours and stains.
500 g No. 810022
Polish
Pumice Powder
Fine, white powder for
smoothing the layers of
a finish, e.g. for French
polishing or as a pore filler
(pumice becomes transparent
when mixed with shellac). Made of pure siliceous rocks.
Used with water or paraffin oil.
250 g No. 810050
Equipment
French Flat Oil Brush
Hand-made in a traditional brushmaker's shop in France for
high absorption capacity, shape stability and even flow. The
hand-sorted Chungking bristles with uncut, naturally split
ends ensure a high capillary effect and form a dense brush
head which allows a controlled flow. Slightly dome-shaped
head for even application without overlapping. Nickel-plated
ferrules, stained beech handle. Length approx. 240 mm,
head width 50 mm
No. 706181
30

Natural Finishing Supplies Starter Kit, 11-piece set
Basic set with great price advantage consisting of natural
oils, waxes and resins for mixing your own finishes. An
attached brochure guides through the process. Delivered
with a French flat oil brush for easy application.
Contents:
• Linolja, Schwedish linseed oil (705275) 1 Liter
• Lignea, Chinese tung oil (705286) 1 Liter
• Turpentine oil (705288) 1 Liter
• Pure orange oil (705277) 250 ml
• Sinensis, camellia oil (705280) 100 ml
• Flat oil brush (706181) width 50 mm
• Pure bee wax (810006) granulate, 500 g
• Carnauba wax (810009) 500 g
• Benzoin (810023) 100 g
• Alkanet root (810024) 100 g
• Komet shellac (810034) 250 g
No. 705299
DICK GmbH · Donaustr. 51 · 94526 Metten · Germany
Tel: 0991-9109-902 · Fax: 0991-9109-802
www.more-than-tools.de · info@more-than-tools.de
All finished described in this brochure can be bought directly from us
(please ask for our free catalogue or have a look at our webshop).
Making varnishes and finishing wood are sensitive endeavours. We can not
guarantee the quality of the results. We therefore recommend that you test
your varnishes prior to use to establish the color, mixability and drying times.
The content of this brochure is subject to copyright.
The general terms and conditions of our catalogue shall apply.