Knobs 245, 247 & 247 – Yellowheart & Red Oak

Knobs 245, 246 & 247

Knobs 245, 246 & 247

These knobs are all ¼” Yellowheart glued over ½” Red Oak.  About 1/16” of Red Oak is later turned off the bottom on a lathe.  Both grains are horizontal and at 90 degrees with respect to each other.  So the knobs have a flash of iridescence from side grain of one or the other layer every 90 degrees.  The iridescence of the Yellowheart show in the bottom image, but the iridescence of Red Oak in the top image is less evident.  Knobs 245 & 246 have some metallic Inca Gold paint applied to cut grooves and crevices in the grain.  All the knobs are finished with polished SG and Kiwi neutral shoe polish.

In knobs 246 & 247, the end of an 1/8” bamboo dowel shows in the top center.  Because Oak has hard fine grain layered with porous softer grain, a drill can wander off center when drilling into it.  So a 0.050 inch pilot hole was drilled down through the Yellowheart into the Oak.  Then the holes for the 6mm potentiometer shaft and panel nut clearance were cut along it through the Oak.

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Knobs 243 & 244 – Painted Cherry & Maple

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Knobs 243 & 244

These knobs are all 3/8” Maple glued (yellow wood glue) over ¼” Cherry, with the grains horizontal and offset 90 degrees.  The 5-40 set screw holes are drilled and tapped into the Maple side grain.  All have a primer coat of generic superglue (SG), with a base coat of black acrylic.  They began as an experiment to see if transparent color over metallic silver over black would look good.  Not so much.  So less transparent color was added in layers, producing the effects you see here.  The underlying layers of metallic silver don’t really show through.

SG is interlayered with the acrylic the knobs.  All the knobs are finished with polished SG and Kiwi neutral shoe polish.

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Welcome to 142 Registered Users

This site now has 142 registered users besides myself.  Welcome.  However, there are no comments on articles.  Well, I did write that I would have trouble keeping up with moderating them.  I’m a bit puzzled, but I  guess I can’t complain.  So, if you have registered as a user just to indicate support for this work-

Thank You.

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Knobs 240, 241 & 242 – painted

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Knobs 240, 241 & 242

These knobs are all 3/8” Maple glued (yellow wood glue) over ¼” Cherry, with the grains horizontal and offset 90 degrees.  The 5-40 set screw holes are drilled and tapped into the Maple side grain.  All have a primer coat of generic superglue (SG), with a base coat of black acrylic.  They began as an experiment to see if transparent color over metallic silver over black would look good.  Not so much, so they were all overpainted.  Knob 240 shows metallic antique copper splotched onto the black with a brush, and green in the grooves.  Knob 241 meant to show banded earth-like colors of antique copper at the bottom, then green and primary blue, with a black-silver undercoat.  That didn’t work out.  So the colors were smeared and mixed together with metallic pearl white.  Knob 242 started as a banded set of magenta, red, orange and yellow going from bottom to top.  When that didn’t work out, orange, pumpkin and metallic pearl white were used to cover it.  SG may be interlayered with the acrylic on some or all knobs.  All the knobs are finished with polished SG and Kiwi neutral shoe polish.

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Knobs 237, 238 & 239 – painted

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Knobs 237, 238 & 239

These knobs are all 3/8” Maple glued (yellow wood glue) over ¼” Cherry, with the grains horizontal and offset 90 degrees.  The 5-40 set screw holes are drilled and tapped into the Maple side grain.  All have a primer coat of generic superglue (SG).  Knob 237 has a black acrylic base, with metallic antique copper (bronze-colored) and inca gold showing.  Knob 238 has base of nutmeg brown, with antique copper, gold and orange showing.  Knob 239 has a base of primary blue, with antique copper at the bottom, a mixture of primary blue and metallic pearl white above, and a circular wipe of magenta on the top.  SG may be interlayered with the acrylic on some or all knobs.  All the knobs are finished with polished SG and Kiwi neutral shoe polish (KNSP).

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Knob 236 – Acrylic & SG finish

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Knob 236

With a body of 3/8″ maple over 1/4″ cherry, generic SG seals it, covered by alternating layers of acrylic paint (applied by finger w/ float medium, and small brush: including metallic antique copper, flame yellow, cadmium orange, bright red) and SG (applied with a bit of folded paper towel.  The final finish consists of neutral shoe polish.

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132 Users – no comments

I appreciate everyone who has signed up as a valid (non-spamming) User, but maybe I’m missing something.  This site has 132 non-administrative Users, none of whom have left any comments.  That’s OK, if that’s how you want it.  At my age, there aren’t so many hours in the day to deal with them.

This site uses Akismet, Ban Hammer, Confident CAPTCHA and SI CAPTCHA Anti-Spam to avoid spammers and abusers.  I can’t claim to be an expert in their use.  Maybe there’s something about them that inhibits comments.  If there is, you have an alternative – @TSGaxe on Twitter.com.

If you have had trouble leaving legitimate comments, please leave a note on @TSGaxe explaining the difficulty, and I’ll see what I can do.

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Knobs 233, 234 & 235: Brazilian Cherry w/ Painted Decorations

Brazilian Cherry is a hard, dense wood with grain going from dark chocolate to honey-caramel.  The end grain on the board from which these knobs were cut looks a bit like brown pin-stripe. All knobs have horizontal grain to enhance iridescence in the more visible tops.

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Knobs 233, 234 & 235

These knobs were all sealed with SG, and finished with SG and KNSP.  Acrylic paint, Flame Yellow on 233, Light Blue on 234, and Inca Gold on 235, was applied by finger to cut grooves in knobs as they rotated on a lathe, wiped or cut off the wood around the grooves, and sealed with SG.

A #1 centering drill with a 0.045″ tip spotted a hole in the (outer) groove on the top of each knob, then drilled about 0.07″ deep with a 0.092″ drill, to accept a glass bead pointer.  SG fixed each bead in its hole.  But these were filled to overflowing with SG, and then cut back down to the level of the top.  This removed all specular reflections from the beads, and flattened their colors.

In the case of 234, the blue paint got into a number of small voids on the sides of the body.  I cut the profile deeper to remove them.

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Knobs 229-232: Painted Ash

Ash is a pale hardwood, which like Oak has hard layers alternating with softer, coarser, porous layers.

Knob 229, with no paint, and shoe polish finish over generic superglue (SG), clearly shows this structure.  If water-based finish contacts the wood before SG seals it, the porous grain layers swell and raise, as they did in knobs 230 & 232.  I chose to knock them back down, often by filing while the knob turned on a lathe.  SG coated each layer of acrylic color to provide some hardness and depth. Each layer of acrylic was applied by finger-painting while the knob was turning on a wood lathe.  Occasionally, a small brush may have been used.  SG was added by a paper-towel wipe, tri-folded from about 3/4 inch to 1/4 inch, and then folded over again before wetting with SG, also while the knob was turning on a wood lathe.

I started with an acrylic metallic silver layer on 230, followed by Primary Blue acrylic w/ Light Green and Magenta trim.  The acrylic layers were mixed by finger-painting with an acrylic float medium to thin and spread out the color, and applied to the knobs by finger.  The last layers of SG on all the knobs were finally polished with abrasive fabric, then finished with Kiwi neutral shoe polish (KNSP).  Knob 230 retains a small bit of iridescence from the underlying wood.

knobs-0229-0230-600Knobs 229 & 230

Knob 231 has a SG sealing coat, followed by coats of acrylic Inca Gold and Antique Copper, inter-layered with SG.  It retains some iridescence from the underlying wood.  In an attempt to fill the porous grain, an acrylic texture medium was applied first to knobe 232.  Unfortunately, the porous grain rose.  SG layers were interspersed with acrylic metallic gold, copper and Pearl White, as well as Yellow Flame.  All acrylic layers were mixed by finger on the knob with float medium.  Using the Pearl White results in a pastel effect, which eliminates much of the iridescence.

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Knobs 231 & 232

 

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Eucalyptus knobs 223, 224, 225, 226, 227, 228

These are the last 6 knobs of 20 from a Cali Bamboo flooring sample made of “woven strand” Eucalyptus, all with horizontal grain.  The finish on the next four, 223, 224, 225 & 226, is layers of generic superglue (SG) and either translucent acrylic or fabric paint. This intended to get a candy-like finish through which at least some of the iridescence of the wood showed.  The paints were mixed by finger on the turning knob (on a wood lathe) with some clear acrylic floating medium to make the paint layers even more translucent.  The knobs were polished before and after painting (sometime in between layers), and ultimately finished with Kiwi neutral shoe polish.

Almost all have circular “tooling” marks on their tops from swirling the layers on with a finger or folded scrap of paper towel.  One can only eliminate such marks by layering the SG on to thickness and then filing and sanding back down.  Even this turns out not to be so easy.  Paint in particular raises ridges, which causes leveling to cut back down through the SG into the paint.

These knobs turned out a little better than 221 & 222.  More practice needed.

If I remember correctly, Knob 223 (left) below used at least two different colors of blue (acrylic) and turquoise (fabric) paint.  As the different knob positions show, it still has some iridescence.  It has a yellow glass bead pointer.  Knob 225 (right) has little left because the base paint is a metallic gold.  Yellow acrylic paint, and possibly some yellow fabric paint give it color.

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Knobs 223 & 224  (c) 2016 android originals LC

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Knobs 225 & 226

I don’t remember exactly what I put on Knob 225 (left).  Some combination of bright red acrylic, magenta acrylic, cardinal red Setacolor fabric and/or Fuchsia Setacolor fabric paint, with a blue glass bead pointer.  Obviously, some of the iridescence of the Eucalyptus shows through.  Knob 225 (right) definitely had some orange or buttercup fabric paint, as well as some acrylic colors.  It also shows some iridescence, with a blue glass bead pointer.

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Knobs 227 & 228   (c) 2016 android originals LC

Knob 227 (right) was not painted, but 228 was.  Then the paint was removed from 228, except from the decorative and finger grooves.  The side grooves had yellow paint and the top groove blue.  Knob 227 has a red glass bead pointer, and 228, blue.  Notice that with all the glass beads on all these knobs, the bead sits in a decorative groove, looking a bit like a moon in an orbit.  FYI, it’s a lot easier to drill the holes after making the grooves, to make them look like that.

Note that using fabric paint is not ideal; it tends to remain soft after drying.  One has to hope that the SG fixes it.  Acrylic paint is harder, and perhaps less likely to fail in the long run.  I simply had more colors of fabric paint on hand.  Note that for this application, it doesn’t take much paint; just a few drops per knob.  Large 4 ounce tubes of acrylic can change to rubber before they all get used up.

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