Coloring certain woods can be very challenging to a finisher. Pine, cherry, birch, and sometimes maple, can quickly absorb stains in uneven, blotchy results. Even sapwood streaks oriented poorly in a project can create a visual "eyedraw" that is not pleasant. There is nothing more disheartening than to ruin a finely built piece within a matter of minutes with a poorly thought out plan of how to stain the wood. By first expecting the possibility and high risk of this happening and preparing the wood ahead of time, disaster can be avoided.

The term "stain controller" is a description of any product that will control the absorption of a stain on wood. These are a wash coat of shellac, a thinned version of the topcoat being used, a glue size, a single coat of Danish oil, a gel varnish, and the various "off the shelf" stain controllers that are sold in stores. Process oriented stain control can be achieved by sanding up through to very fine grits (400+), spraying the dye stain or spraying tinted lacquers. All of these possible controllers must be preempted with a plan of what stain and what topcoat is going to be used. For instance, a wash coat of shellac would never be used under an alcohol based dye-the dye would soften the shellac.

Wash coat of shellac: a typical wash coat strength is a 1 or 1 ½ pound cut of a dewaxed shellac. The choice of what color shellac is up to the finisher. A blonde shellac will not add any tone to the work, whereas an orange or buttonlac shellac will dramatically alter the base tone of the wood. Apply the wash coat evenly by brushing or spraying, let dry and scuff sand with a 320 or 400 grit paper. Recommended stains to use with this controller are: pigmented stains, oil and water based dyes.

Glue Size: a concentrated product that is diluted with water to the desired strength for absorption. Reduced Hide glue can also be used. A typical ratio of 1:1 is normal. Apply evenly with a brush, let dry, and scuff sand with 320 or 400 grit paper. Recommended stains to use with this controller are: pigmented stains, NGR stains, and water based dyes but be careful-the water based dye will soften the glue size and grab. The dye can not be allowed to set and must be wiped quickly. A lighter color can be expected because of the reduced absorption.

Thinned versions of the topcoat: oil based varnish, or urethane, in a 1:1 ratio of the topcoat and thinner is a good starting point for porous woods such as pine. Thinner solutions, perhaps even 1:3, would be adequate for hardwoods such as cherry. Scuff sand when dry. Recommended stains would be oil based pigmented stains or gel stains only. The final topcoat might pull a little of the stain if it is being brushed. Work quickly without manipulating the topcoat excessively.

Gel varnishes: by nature these products are "topical". The gel stains available from several manufacturers are all minimal in their ability to absorb deeply. However, even with a gel stain, some woods will blotch and it is necessary to first apply a wiped on coat of a gel varnish. Let dry and scuff sand. Recommended stains would be gel stains and oil based pigmented stains. If the gel stain is water based (such as Clearwater stains) use a wash coat of shellac first and then the stain.

Danish Oil: very similar to a thinned varnish as a controller. Recommended stains are oil based pigmented stains and gel stains that are oil or water based.

Hardware store Stain Controllers: these products are ready to use products that "fill" the cells of the wood with a slow drying, very thin, oil binder that minimizes the amount of room left over for the stain to "fill". They are typically used while still wet. Other types of controllers sold can be very thin sanding sealers. Read the manufacturer’s directions thoroughly.

Sanding to a very fine grit: hardwoods such as maple or birch respond very well with this method. By maintaining the sanding schedule of working through every grit from 120 up through 400 or even 600 grit, the wood is being "polished" and the absorption of stain is reduced. Any stain can then be used with this method. A lighter color is to be expected.

Spraying dye stains or tinted lacquers: this is a method used by anyone with a good spray setup. A dye in a spray gun that is set up for a very dry mist and successive light coats can create uniform color on any difficult wood. Pine responds very well to this method and sapwood streaks can also be solved with this method much easier than with a brush. The key is the light layering of color applied several times until the visual affect is reached.

Manufacturers of furniture have discovered the beauty of applying tinted lacquers to wood that is severely mismatched. A cherry tabletop can be laminated together with any board and the finish room "cherry-izes" with a brownish red tint right in the spray lacquer to create beautifully consistent color. The annoying part of this finish is when it chips off and leaves a white spot of new wood.

A combination of a light spray stain and a lightly tinted sealer with a clear topcoat would be a superior alternative to the method above.

Sometimes the process of using a controller and then a stain is simply not enough. The color is too light, or there is no character or depth left to the piece, and a 3^rd step is needed to create the necessary results. Glazing with a Shading and Glazing stain is the perfect method for adding additional color. For instance, the piece is cherry and it has had a wash coat of shellac, a brownish red pigmented wiping stain and here is where it changes. It would not receive the topcoat. Instead, apply another wash coat of shellac, let dry, scuff, and apply the Glazing stain of the appropriate color, perhaps a Burnt Umber or Van Dyke Brown. Wipe off and, if desired, leave a slight heaviness of Glaze in the profiles and details of the piece. Let dry, and apply another wash coat to set the color (if the topcoat is being applied by brush). Finish the project with the final topcoats. A wash coat after glaze is not necessary if the final topcoat is being sprayed.

Cherry sapwood is slightly more difficult. The aging factor has to be considered. If the sapwood is colored to blend to the "present cherry color", what happens to the overall tone once the cherry ages to the darker oxidized tone? The trick is to acquire a tone balance that will not change appearance radically over time. This process would not be appropriate for those who would want their cherry a light color. Begin with a Golden Oak NGR dye stain lightly sprayed, giving the sapwood streak extra light applications. Wash coat with a sealer or shellac. Scuff sand and glaze with either a Burnt Umber or a Van Dyke Shading and Glazing stain. Let dry and topcoat. For a very light cherry simply seal with a wash coat and either lightly stain with a pigmented stain or glaze with the glazes mentioned above.

Figured woods such as tiger maple or birdseye maple have grain characteristics that need to be enhanced to take full advantage of the beauty of the wood. A 3 step process is necessary to acquire the full depth of color. Begin with an amber stain-either water based aniline or an NGR stain. (the water based dye sinks more deeply into the wood and accentuates the figure dramatically) Seal with a wash coat, let dry, scuff sand, and glaze with a Burnt Umber. Follow with another wash coat to set the glaze and proceed with a topcoat. If more color is desired an additional glaze/wash coat can be added before the final topcoat. If a clear coat is desired, penetrating oils with a glaze, applied after 2 coats of the oil, will settle into the figure of the wood. If, on tiger maple, the desired color is very light but the striping is to be accentuated, follow the amber dye stain step, let dry, and sand back the maple until the "upper" wood is white (or lighter). A clear coat on this surface reveals the dye that is still left in the "stripe" of the wood.

Quarter sawn oak is another figured wood that most finishers find challenging. The bright rays or flecking are beautiful against a deep brown background but 1 step staining or pigment stains just can’t do it. Try a dye stain that is a brownish red (Solar Lux Nutmeg Brown) or an orange. Wash coat and then glaze with a black Shading and Glazing stain. This method imitates an Arts and Crafts oak that is beautiful and rich.

Padauk is very beautiful when first planed and sanded. The deep red color is what attracts most woodworkers to use it in their finest creations. However, the red doesn’t last and oxidizes to a dull brown over time. To keep the red, clear coat a fresh piece of Padauk and then match that color with a dye. Use this dye on the project and the beautiful red will stay red.