Our modern color oils reflect nature’s rich spectrum of colors. They make it possible to add color to native wood species and give furniture surfaces, stair treads, or parquet floors in bedrooms and living areas, kitchens, restaurants, or retail spaces an individual touch. However, there are several things to consider when applying color oil, and it requires professional craftsmanship.
High expectations
Coloring wood surfaces is highly demanding craftsmanship that should be reserved for professional applicators. Expectations for colored surfaces are extremely high, shaped by the range of industrially coated surfaces available. Applying color oil is not easy and should be carried out with appropriate care to achieve a flawless surface result.
Sanding - the be-all and end-all
The requirements for the sanding pattern are extremely high, and sanding errors are clearly emphasized by color oils! The sanding must therefore always be carried out cleanly and very evenly. In addition, the sanding must not be too coarse, as the color would otherwise excessively emphasize traces left by the sandpaper. On the other hand, it must not be too fine, as the color oil would then be unable to penetrate deeply enough into the wood.
White effects
White coloring, such as Polar White or White Limed, is a general exception. To achieve a whitewashed or white-limed effect, the wood surface should not be sanded too finely. Only then can the white pigments penetrate deeply into the surface.
The »OLI-NATURA Oils & Waxes« in the »White Limed« finish contain white pigments that counteract the enhancement of the wood grain. However, the appearance of the wood is lightened (limed), the pores are subtly colored white, and they stand out on the surface. The »OLI-NATURA Oils & Waxes« in the »Polar White« finish contain a higher proportion of white pigments, producing a pronounced lightening of the wood. However, when coloring white by hand, it is always important to point out the differences from industrially whitened wood: it is difficult to compare with industrial processes.
Take the wood species into account
Naturally, the wood itself is a decisive factor. The resulting color tone of an oiled object depends substantially on the wood’s base tone, as well as on the wood species and its characteristics. Particularly with highly absorbent beech, there is a risk that the resulting surface will become patchy and uneven. The same applies to very dense and light-colored woods, especially when they are to be pigmented dark. The differences between the natural wood and the desired color tone should not be too great. Coarse-pored oak or ash behaves more favorably because small imperfections in the wood’s structure are less noticeable.
Applying the color
The most important principle is that the color is applied thinly and evenly. In addition, the color oil should only be applied at room temperature and shaken well before use. To avoid color differences, containers from different batches must also be mixed thoroughly before use. On furniture surfaces, color oil is best applied with a brush in the direction of the grain. For large surfaces such as parquet floors, rolling has proven effective. It is applied from a bucket with a roller grid. Puddles and excessive application quantities must be avoided at all costs, as the excess is very difficult to remove. Particular attention should also be paid to the joint areas. If the joints are not sufficiently filled, they will stand out clearly and can also cause considerable drying delays. To achieve an even, seamless, cloud-free color, careful work with a single-disc machine and pad is essential. Always work while the surface is “wet” and continue until the surface appears dry.
Protection and care
Unlike smoking or thermal treatment, color oiling does not color the wood throughout; it only colors the uppermost wood layers. This means that deep scratches or dents extending into the uncolored wood layers should be avoided wherever possible, as the light-colored wood would otherwise become visible. Fine scratches can, however, be touched up locally. Any difference in color will even out over time. Therefore, always keep the color oil used for the application in its original sealed container for any possible repair work, as tones and formulations may change. Once a decision has been made to color the wood, that decision is no longer reversible after application. Even with the most careful sanding, the color can never be removed without leaving any residue. This is less of a problem with lightly colored floors; with dark color tones, it will always be necessary to resort to coloring again.
OLI-NATURA HS Professional Oil, colored: High-Solid pigmented oils with a solids content of 95%. After curing, almost 100% of the oil also remains in the wood, ensuring excellent durability. Colors and protects with just one oil application - now in 10 new designer color tones. With or without hardener, this emission-tested High-Solid color oil brings current color inspirations from architecture, interior design, and craftsmanship to wooden floors, furniture, and stairs. Naturally beautiful, healthy for indoor living, and efficient to apply. The color effects are rather rustic and emphasize the pores. Due to their high solids content, however, High-Solid pigmented oils are also more “sluggish” to apply and should therefore preferably be massaged in by hand with a pad or using a polishing machine. This is the only way to achieve maximum saturation of the wood.
The long open time provides plenty of scope for polishing out, a real advantage especially on larger surfaces. The low viscosity ensures pleasantly easy handling, while the rapid full curing is impressive even without hardener. In combination with OLI-NATURA Hardener (mixing ratio 10:1), the curing time is significantly reduced and the surface’s resistance increases.
The certified quality is emission-tested, DIBt-certified, and TRGS-compliant - ideal for professional interior use.
OLI-NATURA Project Oil, colored: pigmented oil with a solids content of 60% that protects from within. It does not form a surface layer, but rather provides an open-pored impregnation. The oil contains isoparaffin and therefore penetrates the wood very well. It has consequently become particularly well established in cabinetmaking and is especially used for the initial treatment of furniture surfaces with color. A second application does not intensify the color.
