Already ahead of both of you clowns.
Jordan, re: tinting oil, I discovered through the magic of youtube luthier videos, that artist's oil paints can be used to tint oils, as long as the carrier oil of the paint is also a major component of the oil/varnish you are applying. In my case, I am going with a series of paints that have a pure linseed oil carrier, which works just fine with Tru-oil since linseed oil is also used in it. Coincedentally, boiled linseed oil is also the main component of Danish oil, which I did my test pieces with. Now that I have actual Tru-oil and more test pieces, that's what I will be using for the remaining test pieces.
Yesterday I got a bunch more paints to tint the tru-oil. I previously had:
Prussian blue - a sorta dark greenish blue, which is the basis of the caribbean blue/green look
French Ultramarine - a very dark pure blue.
Burnt Sienna - the brownish/orangeish/reddish colour I used for the back.
And yesterday I picked up:
Raw Sienna - the lighter, more tan/yellow version of burnt sienna. I'll use this to add a bit more depth to the burnt sienna, lighten it a touch and add some vibrance to it.
Burnt umber - a darker, more brownish almost carbonized shade, sorta if burnt sienna got burnt even more. Not sure how I'll use this, if at all, but I might use it towards the edges and sides of the back, to darken the burnt sienna. So I might end up doing a siennaburst on the back.
Cerulean blue - a nice middle ground between a pastel blue and the french ultramarine. I might use this as an intermediary between the prussian blue and french ultramarine....we'll see.
Lampblack - pure black, I'll only use this in really small quantities mixed in with the french ultramarine to subtly darken the edges of the blueburst. Also full strength for the painted headstock.
For the neck, I'll likely use the raw sienna to achieve that vintage sorta amber colour. I might need to get a maple test piece first though.
Also, all my guitars are about playability, as much as I can manage it anyway. Right now all my axes play like butter. Two have danish oiled necks, the other two are just smoothed down from natural wear (ie playing). This neck already has a nice thin C profile, 12" radius, medium jumbo frets and a slick rosewood fretboard that's also dark as hell. Darkest rosewood board I've ever seen. In any case, if I'm stripping it of its current finish, it's going to be refinished just the same as the body, with tru-oil.
Part of the reason I decided to strip and redo the neck is cuz it actually have some nice flame figuring on it, that seems to be obscured by the boring layers of tinted varnish that currently lie on top of it, instead of getting into the grain and accenting it. The oil will pull that grain out of hiding and reveal it much better, methinks.
Jordan, re: tinting oil, I discovered through the magic of youtube luthier videos, that artist's oil paints can be used to tint oils, as long as the carrier oil of the paint is also a major component of the oil/varnish you are applying. In my case, I am going with a series of paints that have a pure linseed oil carrier, which works just fine with Tru-oil since linseed oil is also used in it. Coincedentally, boiled linseed oil is also the main component of Danish oil, which I did my test pieces with. Now that I have actual Tru-oil and more test pieces, that's what I will be using for the remaining test pieces.
Yesterday I got a bunch more paints to tint the tru-oil. I previously had:
Prussian blue - a sorta dark greenish blue, which is the basis of the caribbean blue/green look
French Ultramarine - a very dark pure blue.
Burnt Sienna - the brownish/orangeish/reddish colour I used for the back.
And yesterday I picked up:
Raw Sienna - the lighter, more tan/yellow version of burnt sienna. I'll use this to add a bit more depth to the burnt sienna, lighten it a touch and add some vibrance to it.
Burnt umber - a darker, more brownish almost carbonized shade, sorta if burnt sienna got burnt even more. Not sure how I'll use this, if at all, but I might use it towards the edges and sides of the back, to darken the burnt sienna. So I might end up doing a siennaburst on the back.
Cerulean blue - a nice middle ground between a pastel blue and the french ultramarine. I might use this as an intermediary between the prussian blue and french ultramarine....we'll see.
Lampblack - pure black, I'll only use this in really small quantities mixed in with the french ultramarine to subtly darken the edges of the blueburst. Also full strength for the painted headstock.
For the neck, I'll likely use the raw sienna to achieve that vintage sorta amber colour. I might need to get a maple test piece first though.
Also, all my guitars are about playability, as much as I can manage it anyway. Right now all my axes play like butter. Two have danish oiled necks, the other two are just smoothed down from natural wear (ie playing). This neck already has a nice thin C profile, 12" radius, medium jumbo frets and a slick rosewood fretboard that's also dark as hell. Darkest rosewood board I've ever seen. In any case, if I'm stripping it of its current finish, it's going to be refinished just the same as the body, with tru-oil.
Part of the reason I decided to strip and redo the neck is cuz it actually have some nice flame figuring on it, that seems to be obscured by the boring layers of tinted varnish that currently lie on top of it, instead of getting into the grain and accenting it. The oil will pull that grain out of hiding and reveal it much better, methinks.
