Can you glaze over stained wood

Basically, Stains are thin paint. Sometimes a dye will be added and these are sometimes called a dye stain. Still, if the pigment is in the can, consider it a stain.

On raw or new wood use stain, because it can add deeper rich color and highlight the grain of the wood to show.

Stains contain a binder, usually a thin oil-based product. Stains always have to be stirred while in use because they contain solid pigments that settle to the bottom of the can after a short time. Usually, some type of Topcoat is applied on top of the stain to lock in the color and to allow for multiple coats of stain without lifting previous coats of stain. The glaze does not always require a Topcoat; there are many applications where a Topcoat is not a requirement.

According to Fine Woodworking , the only difference between a gel stain and a liquid is the addition of a thickening agent, which prevents the stain from dripping and running. A glaze contains pigment, but the pigment is dissolved in a varnish or shellac base so it will harden on the surface of a pre-existing finish.

Some glazes are so well pigmented that they look like paint, and in some cases, you can use actual paint or primer for glazing. If you apply gel stain to a piece of unfinished wood, the pigment soaks into the grain, and the wood assumes the color of the stain. If the wood is already stained, the color becomes a combination of the existing and new stains.

If you apply a glaze to unfinished wood, though, some of it soaks in, while some remains on the surface. If you use the conventional technique and wipe the glaze with a rag, you're left with blotches of color and an uneven seal. Now's your chance to leave your own personal mark on the wood. Use your second brush which should ideally be soft-bristled, clean, and dry to push the remaining glaze around, distributing the areas of dark more glaze and light less glaze as you wish.

Use the towels or rags to dry the blending brush when it gets too wet. There's no "right" way to do this and different woodworkers will often prefer using different techniques to get different final products. Below are a few suggestions that should leave you with a rich, distinguished-looking piece of wood: Leave the glaze the thinnest at the center of flat surfaces.

Leave slightly more around the edges. This gives a subtle "cameo" or "sunburst" effect. Let the glaze accumulate thickest around sharp corners, edges, cracks, and embellishments. This highlights these features by bringing out their contrast.

Push the glaze away from the "high points" on emblems, embellishments, carvings, and so on to give them a warm "shine. Use abrasives to produce a grain. Though it's certainly not required, you can custom-modify the texture of your wood with mild abrasives during the glazing process. Use steel wool for oil-based glazes and nylon abrasive pads for water-based glazes. Wipe gently with the abrasive to remove the glaze more gradually than you would with a paper towel or rag. This will also produce a slightly rough, "grainy" effect in the glaze which can enhance the character of the wood once it dries.

Whether or not to use this "grain" effect depends on the project you're working on and the impression you want to create with the finished product. For example, while a rough grain can look great on a rich wooden desk, you'll probably want to keep your glaze smooth if you're working over a white-painted chest of drawers.

Remove any work you're not happy with before it dries. If you don't like the way your glazing job is turning out, don't worry, as it's fairly easy to "undo" your work. Wet a clean paper towel or rag with mineral spirits for oil-based glazes or water for water-based glazes and rub gently to remove the glaze. Dry off the fresh spot and start again at your leisure, being sure to use the same glaze mix so that your colors match.

As noted above, while individual glazes vary in their drying time, you'll usually have about minutes before the glaze starts to dry. When you're satisfied, let your glaze dry. When you're finally happy with the way your glaze job looks, set your wood in a place where drips and spills are unlikely and allow it to dry. Give it a generous time window for drying — you want it to be completely dry before you start working on it again. Waiting overnight is long enough for most glazes.

If you notice small drips or mistakes after your glaze dries, it's usually possible to carefully scrape them off with a razor or craft knife. Seal the glaze. Glaze isn't meant to be the top coat on a piece of wood — it's too thin and vulnerable to wear and tear to offer much protection.

Multiple sealant layers are generally recommended. The vast majority of finishes should work well with nearly all glazes. The glaze simply lies on the sealer giving you an extra layer of color. The cherry board above shows this effect. Along the same lines, you can apply a glaze to adjust the color of a stained project. If, after applying a stain and sealer, the color isn't right, a glaze coat can often improve it.

A glaze also works well to mask color differences within boards or between boards in a project. Since it sits on the surface, a glaze will very effectively hide a streak of sapwood in cherry or walnut. The crown molding demonstrates how naturally finished oak benefits from a glaze. The dark glaze lodges mainly in the pores to add a subtle contrast. Finally, one of the most common reasons for using a glaze is to give a traditional project an authentic, aged appearance.

The door in the photo above is a good example. This works in two ways. First, the glaze helps reproduce the rich, reddish-brown color of old cherry.

Second, traces of glaze left on edges and in corners simulates the accumulation of grime and aging of the finish over the years. There are a number of products that can be used as a glaze. The common thread is that a glaze should have a fairly thick consistency. This helps the glaze "cling" to the sealed surface. You can find formulations specifically designed for glazing.