wood furniture finishes lecture

1. FINISHES TO FURNITURE
By:
Surashmie Kaalmegh

2. Types of finishes
 Two basic types :
Basic & Decorative
Choosing a finish for wood = two essential
factors

3. TYPES OF FINISHES
REASONS :
DEPENDS ON :
 To protect
 To bring out its natural
beauty
 To increase its
durability
 To enhance / adorn.
 To add to its
appearance
 To make comfortable
 To make maintenance
easy
 Effect / impact desired
, wear and tear, usage
/ function
Some finishes can
be mixed & some
cannot
Each finish has its
own individual ---
application
techniques; tools &
materials.
but one need
common ----is a
dust-free
environment during
application.

4. I ) BASIC
FINISHES
1 .LACQUER
2 .POLISHING /
SHELLAC
3 .VARNISHING
4.PENETRATING
RESIN
5.WAXING AND
6.OILING
 Veneering
 Parquetry
 Marquetry
 Etching
 Decoupage
/decal
 Japanning
 Enameling
Types of finishes
II) Decorative
finishes
Intarsia
Carving
Gilding
Embossing
Inlay
engraving
painting
• Upholstery
Canework
• wood turning

5. Applying varnish is difficult, but the
results are good. Varnish is protective
( a surface coat)
.
durability
appearance
Choosing a finish (2 essential factors) :-
varnish and
penetrating resin
Are better
Penetrating resin sinks
& hardens into the wood
Give a natural look and feel; stand up to
heavy use
it is easy to apply, reapply &
Doesn’t chip or craze
Oil,--- produces
natural finish.
Shellac dries fast
but easy to use

6. Every finishing material will have
Specifications & features ……..
 For interior and
spot exterior use
 Greatest stain
sealer
 Seals knots and
sap streaks
 Seals pet, smoke
and musty odors
 Sticks to all
surfaces without
sanding
 Lightning fast dry
- recoat in 45
minutes
• Low odor
• Effectively primes and
seals charred or smoke
stained surfaces
• Holds back water-
soluble stains and most
“bleeding” stains such
as lipstick, crayon, and
grease
• Does not raise the grain
of wood
• Seals porous surfaces
such as old flat wall
paints and patches on
previously painted
surfaces
• Interior

7. . Defects in wood

9. DEALING WITH DEFECTS

10. USING DEFECTIVE
WOOD

12. Issues due to wear & tear
( wood furnitures )

14. Maintenance issues
 Touch up
 Repaint
 Re-polish
 Repair
 Renovate
 Rejuvenate
 Recycle
 Discard

15. defects in wood

16. Surface
preparation
for wood
finishes:
1.Cleaning – to remove dust
& lint
Repairing – to remove any
faults or defects
2 Sanding - to smoothen
surface
3 Sealing - to hide flaws , to
seal fine cracks etc.
4 Base coat – initial coat
Drying -- a coat needs to
dry before applying any other
finish.
5 Re-coating --- 2nd ,3rd coat
6 Drying – drying of a
given coat.
7 .Buffing – to rub vigorously
so as to shine.
1
2
3
4
5
6
7

17. SURFACE PREPARATION

18. 1. Cleaning & Sanding
Cleaning – to remove dust & lint
Sanding - to smoothen surface

19. 2. Defects in wood
Repairing – to remove any faults or defects

20. 3. Wood primers / sealers
 A primer/sealer paint
seals the surface of
wood so the paint does
not soak into it. At the
same time some of the
natural oils in wood might
react with the paint and
cause it to discolor.
 Seals pores & therefore
smoothens the wood
surface
Sealing - to hide flaws , to seal fine cracks etc.

21. 4. Base coats
Base coat – initial coat
& Drying -- a coat needs to dry before
applying any other finish.

22. 5. Second coat
Re-coating --- 2nd ,3rd coat….

23. 6.Drying
– drying of a given coat.

24. 7. Buffing
– to rub vigorously so as to shine.

25. Basic finishes

26. Wood stain finishes
A wood stain consists of a
colorant suspended or dissolved
in a 'vehicle' or solvent.
The suspension agent can
be water, alcohol, petroleum distillate,
or the actual finishing agent
(shellac, lacquer, varnish, polyurethane, etc.).
Stain is composed of the
same three primary
ingredients as paint (pigment,
solvent, and binder) but is
predominantly pigment (or
dye) and solvent with little
binder.

28. COATS AND THE
CHANGES

29. OILING

30. What does oiling do for wood preservation ?
The oiling is the soaking of the wood with natural
vegetable oils. Because the oils are in liquid form, the
impregnate penetrates deeply into the structure of
the wood and hardens it from the inside.
Does oiling wood protect it?
The oil is designed to give unparalleled protection against
UV light (fading) and fungi moulding. It contains no artificial
resins or varnishes. The oil can be used on a complete
range of woods in both internal and external applications
(including teak), however it best suits the protection of
exterior hardwoods.

31. • Linseed Oil. Linseed oil, also known as flaxseed
oil, is one of the most popular wood finishes in the
world. ...
• Tung Oil. Tung oil is a plant-based oil used as a
wood finish. ...
• Mineral Oil. Mineral oil is a broadly used term to
describe a clear, odorless oil. ...
• Walnut Oil. ...
• Danish Oil.
Best Oil Finishes for Wood
Furniture

32. Oiling to wood :
The best method for bringing out the natural
characteristics of wood grain is to use a penetrating oil
like Tung oil, Walnut oil or double boiled Linseed oil.

33. Penetrating resin

34. Penetrating Resin for wood

35. Polishing

36. = POLLISHING =
 Shellac - A clear finish
rarely used as such today
except in restoring period
furniture.
 Positives: Brilliant shine.
 Negatives: Highly
susceptible to damage from
almost any liquid, including
alcohol (mixed drinks will
cut right through it), fruit
juices (ditto), even water
will damage it if left to
stand. Shellac is used
primarily today as a sealer
and under coat. It can be
used under lacquer or
varnish, as well as some
polyurethanes.

37. Mahogany : Orange shellac finish

38. Lacquer

40. A KIT / PACKAGE

41. Lacquer :
clear or coloured varnish that dries by
solvent EVAPORATION and often a curing
process as well that produces a hard,
durable finish,
Sheen level -- ultra matte to high gloss
(clear form /several clear stain color )
Since Lacquer dries fast -- sometimes
instantly – it is very difficult to work with.
Brushing lacquers are not recommended .
Amateur use & spraying must be applied
with a motorized spray gun only
fastest-drying
finish.durable,
Application in
many thin coats.
•Lacquer can be applied
with aerosol spray cans,
this is expensive, but good.

42. Lacquer It's important to know the
type to use for the job
Positives:
•variety of sheens,
• Easily applied –( brush or aerosol.)
•Dries quickly (with a brush, work is fast.)
•Most retail brands require no substrate sealer.
• Damaged finishes can usually be
•repaired without stripping
•best suited for showing off wood grain.
Negatives:
 Easily scratched and susceptible to
water damage.
 Lacquer fumes can be both toxic &
explosive.
hence used for small jobs,
Lacquer is used on 99% of
all commercially manufactured
furniture with a clear finish.

44. Staining before lacquering
Lacquering :
Spraying &
with hand
Matching colours

45. Varnishing

46. = Varnish =
 Varnish - A clear finish / transparent
protective finish
 Or film
 Positives: Much more durable than lacquer.
Slow drying (allows more time to work).
Most minor damage can be repaired without
stripping.
 Negatives: Slow drying time allows dust
motes to settle in finish. Tendency for
beginners to 'over-brush' when applying the
finish, resulting in brush marks in the dried
finish. Although you can handle a varnished
piece the next day, varnish hasn't cured
completely until about a month later.
a combination of a drying oil,
a resin, and a thinner or solvent
Originated in India ,
China , korea
Japan & Egypt

47.  Provides radiant beauty to the wood.
 Helps in protecting the wood by binding the
surface.
 Helps to prevent hairline cracks and absorb the
effects of scratching and external damage.
 Helps in reducing the transfer of moisture
between the wood and the surrounding weather.
 Provides softness and lasting flexibility.
Disadvantage of Varnish
 Becomes yellowish after a certain time.

48. VARNISHING:
it’s a toughest finish & very superior to
other traditional finishes .
It enhances & gives warmth to the wood
It is resistant to impact ,heat, abrasion,
water & alcohol etc.
It is also applied as a top coat over other
worn out finishes.
It provides a clear finish, but darkens
wood slightly.
Available as HIGH GLOSS ,SEMI- GLOSS
SATIN , MATTE , FLAT.
TRADITIONAL VARNISHES ARE BASED
ON NATURAL RESINS & OILS THINNED
BY MINERAL SPIRITS OR TURPENTINE.
synthetic varnishes have synthetic resins
& require special thinners.
WATER BASED ARE THE BEST AS THEY
ARE NON TOXIC & DO NOT YELLOW
LIKE THE SYNTHETIC ONES.
Apply varnish first along the grain
of the wood, flowing it on in even
strips. Then apply more varnish
across the grain to level and even
the surface.

49. After leveling the varnish across the
grain, smooth the surface by stroking it
very lightly along the grain with an
almost dry brush. Pick off dust and lint
as you work.
 Provides radiant beauty to the wood.
 Helps in protecting the wood by binding the
surface.
 Helps to prevent hairline cracks and absorb
the effects of scratching and external
damage.
 Helps in reducing the transfer of moisture
between the wood and the surrounding
weather.
 Provides softness and lasting flexibility.
Disadvantage of Varnish
 Becomes yellowish after a certain time.

50. Painting

51. = Painting =
 Oil Based Paint
 Positives: Extremely
durable. Suggested for
children's furniture and any
other application where
severe abuse may be
expected.
 Negatives: Same as latex
paint with the addition of a
somewhat messier cleanup.
 Latex Paint
 Positives: Easy to apply, to clean
up. Suggested for any painted
furniture where extreme wear or
abuse is not a factor.
 Negatives: Sometimes difficult to
clean a piece entirely when
stripping. Repairing chips and
scratches on older pieces may
present a color match problem. On
raw wood a primer is necessary.

53. Painted Furniture

54. Painted Furniture

55. Decorative finishes

56. Gilding / gilt work

57. Decorated with a thin application of
gold or gold paint
Gold leaf: Gold beaten into
extremely thin sheets used
especially for gilding.
Gilding / silvering
The process of gilding is several thousand years old
Originated : Egypt
Oil-gilding: This is the laying of gold leaf on the wood using gold-size.
The OIL TYPE IS ---- USED IN FURNITURE

58. Processing:
For gold leafing, the portion to
be gilded is first coated with
gesso (whiting and glue
mixed in water) to make the
surface smooth. When dry, it
is painted with a light coat of
"tack" varnish which makes
the gold leaf adhere readily.
After the leafing is finished,
the frame is rubbed with small
bat of lamb's wool which
tightens the bond of gold leaf
and tack and removes loose,
overlapping fringes of the
metal sheets.
Finally, the parts intended for
a bright finish are burnished.

59. Tools and techniques: gilding
Burnisher : an oval agate
fixed with a wooden handle
Size: painters term for
liquid glue or paste oil or
water base
of various types.
Mordant: Gold size 12 -24 carat
Gold leaf: Gold beaten into
extremely thin sheets used
especially for gilding.
The method of gilding all
frames, either partially or
wholly, was the same. It was
done only with gold leaf
prepared in sheets about two
by three inches in size.
All gold leaf was made of pure
gold, beaten tissue thin between
leather skins with heavy mallets.

60. Gold Size
Gilders Tips
Rabbit Skin Glue
Gilders Whiting
Selhamin Poliment Bole
Special Pale Polish
Gilders Knives
Gesso: preparation of whiting (of refined chalk& glue size)

61. Gilding: examples
A completely gilded table and a table
with gilded parts.

63. Gilding: examples
A completely gilded table and a table
with gilded parts.

66. Japanning

67. Japanning ( Indiawork )
OR ASIAN LACQUERWORK
This technique of lacquering originated in
EUROPE (ITALY) ---- AS an IMITATION OF LACQUER
WORK FROM ASIAN COUNTRIES VIZ. INDIA , CHINA , JAPAN.
• It is thick black lacquer with a resin base which hardens to brilliant
Shine with careful applications of several coats.
•It is usually decorated with painted designs in other colours.
•Gold paint or gold leaf is very common as accent colour .
•Instead of black other base colours are red ,blue, deep green etc
A JAPANNED PIECE WAS EXTREMELY DURABLE, HARD
AND IMPACT RESISTANT ONLY CRACKING WITH WEAR & TEAR
•IMMENSELY POPULAR IN 18TH C EUROPEAN DRAWING ROOMS
& USUALLY HAD ASIAN MOTIFS

68. Process in Japan

69. Japanning
( Indiawork ) OR
ASIAN LACQUERWORK
•thick black lacquer
Base -resin
(hardens to brilliant Shine with
several coats.)
•other base colours ---
red ,blue, deep green
originated in EUROPE (ITALY) ----
AS an IMITATION OF LACQUER
WORK VIZ. INDIA , CHINA , JAPAN.
A JAPANNED PIECE WAS EXTREMELY DURABLE, HARD
AND IMPACT RESISTANT ONLY CRACKING WITH WEAR & TEAR
IMMENSELY POPULAR IN 18TH C EUROPEAN DRAWING ROOMS
& USUALLY HAD ASIAN MOTIFS
•It is decorated with
painted designs in other colours.
(Golden is popular)

70. Carving

71. Carving :

72.  Deep carving is usually two
inches deep, or more. These
carvings are replete with
intricate floral and animal motifs.
This requires a lot of labor and
skill, and is the most expensive
form of carving.
 Shallow carving is usually half
an inch deep. In this form of
carving, skilled artisans carve
patterns on a flat surface. This
form of carving is characterized
by mythological themes.
 Latticework, involves ornate
designs which are carved onto
the wood. Mostly used for
windows, this form of carving
portrays carved motifs of
interlaced foliage, animals, and
birds, besides others.
 Semi-carving is done on a thin
panel along the rim of a surface.
This form of carving is a carver's
delight since it allows the grains
of wood to be displayed along
with the carver's skills.

73. CARVING

74. CARVING
 Wood carving is a
major indigenous
craft of India
 This includes
painted wood
 carvings, plain wood
carvings and teak
furniture.
 Using different
varieties of
decorations and
painting especially
vegetables and
mineral colors.

75. Carving Tools

76. Carving Tools

77. Carving

82. Enameling

83. Enamelling :.
It is tough, attractive, and easy
to take care of unlike clear or
transparent finishes.
It covers a lot of flaws -- poor-
quality or uninteresting wood,
badly stained surfaces, and
pieces made with very different
types of wood can all be
rescued with a coat of bright
enamel.
Used over bare wood or over
an old finish, enamel can create
a striking accent piece.
Paint consists of pigments in an application vehicle
or medium. Good enamel consists of pigments in a
varnish, lacquer, or oil base. While enamel is as
tough as varnish, paint produces a soft finish, and is
not recommended for use on furniture. Oil-based
enamel is generally superior to the latex type.

84.  Enameling History
 Enameling is an old
and widely-adopted
technology. The
ancient Egyptians
applied enamels to
pottery and stone
objects. Other
practitioners include
the ancient Greeks,
Celts, Russians,
and the Chinese.

85. Inlay , marquetery , Intarsia

86. Wood Inlay
Inlay is a decorative technique of
inserting pieces of contrasting
coloured materials into incisions/
depressions in an object to form
Patterns / pictures
Normally flush with surface
Materials : shells , mother of pearl,
ivory, horn or coloured stones
(pietre dure) , wood veneers etc.

87. Inlay
Wood veneer
Inlay in wood : Greece

88. Inlay : process

89. inlay
Inlay of tusks

90. The Taj Mahal
Pietra Dura work
Agra
Florence c 1623
Parchin kari work.

91. Marquetry, is the art
and craft of producing
pictures and decorative
designs
by the skilful use of the grain,
figure and colour of thin
VENEERS of wood and other
materials.
In marquetry the design is
applied to a prepared base
material, unlike the related
craft of inlay where decorative
bandings or designs are let
into a solid item for
embellishment
marquetry assembles a
pattern out of veneers upon
the carcase
Marquetry originated in 17 th c
Europe unlike Inlay marquetry
is of wood veneers and covers
the entire surface of the base.

92. marquetry : project

93. A metal screw press
A typical Marquetry picture press

94. All the peculiarities, grain, knots, defects, etc.
are used in the overall effect of the picture.
Marquetry is often found on the finest
furniture. It has been around for thousands of
years. Originated in Egypt, revived in Italy

95. The technique of intarsia inlays sections of
wood (at times with contrasting ivory or
bone) within the solid matrix; by contrast
marquetry assembles a pattern out of
veneers upon the carcase. The technique of
intarsia is believed to have been introduced
into Europe through Sicily, the art was
perfected in Siena and in northern Italy in
the fifteenth and sixteenth centuries,
spreading to German centers and
introduced into London by Flemish
craftsmen in the later sixteenth century. After
about 1620, marquetry
INTARSIA

96. Intarsia

97.  it originally developed in Siena,
Italy in the 13th century by
crafters using inlays of ivory
inserted in wood as well as inlays
of wood inserted into wall murals,
table tops and other furniture.
It is the craft of using varied shapes,
sizes & species of wood fitted
together to create an almost 3-D
inlaid, mosaic-like picture.
The word 'intarsia' is derived from the
Latin word 'interserere' which means
"to insert"

98. Intarsia

99. Decoupage

100. Decoupage
is the art of decorating an object by
gluing colored paper cutouts onto it in
combination with special paint effects,
gold leaf and so on
Commonly an object like a
small box or an item of furniture is
covered by cutouts from magazines or
from purpose -manufactured papers. Each
layer is sealed with varnishes (often
multiple coats) until the "stuck on"
appearance disappears and the result
looks like painting or inlay work. The
traditional technique used 30-40 layers of
varnish which were then sanded to a
polished finish.

103. Items required for Decoupage :
Pictures to decoupage with. These can come from
myriad sources: newspapers, magazines, catalogs,
books, printed clip art, wrapping paper, greeting cards,
fabric, tissue paper, lace.
Cutting items: Scissors, craft knife (X-Acto) or razor
blades used.
Glue: Standard white glue works best if it is diluted with
a little water. Special glues can be used too.
Smoother: Popsicle sticks work well. A brayer is a
specialized tool like a miniature rolling pin designed to
help remove wrinkles, remove excess glue and smooth
pictures.
Glue Spreader :Many things around the house can be
use for this: cotton swabs, paint brushes, sponges.
Rags, sponges, tissue paper to help wipe up glue and
other clean up.
From French to De’couper--- to cut out

104. Stencilling

105. Sealer: Glue or other decoupage medium can be used as
a sealer. Alternatively, polyurethane, spray acrylic or other
lacquers are usually used.
Protecting the Surface:
To prevent damage to the
decals, the surface hould
be sealed with varnish.
Apply the varnish directly
over the decals.

106. Stenciling
Stencilling is the easiest way
Of adding style to furniture.
They can be applied over any
finish. But best over VARNISH
(Which is tacky)
Attach the stencil & then paint
Or powder bronze , copper etc.
Seal stencil work with varnish
Never remove stencil till the paint
Is wet.

109. Engraving and Etching

110. Engraving
 Engraving is the practice of incising a design
on to a hard, usually flat surface, by cutting
grooves into it.
 The result may be a decorated object in itself,
as when silver, gold, steel, stone , wood or
glass are engraved,
 or a plate of copper or another metal,or for
printing images on paper as prints or
illustrations; these images are also called
engravings.

111. Engraving :
Using a Graver
Hand engraving
Machine engraving

112. Engraving: tools

114. Etching :
Etching is the process of
using strong acid or mordant
to cut into the unprotected
parts of a metal surface to
create a design in intaglio in
the metal (the original
process—in modern
manufacturing other
chemicals may be used on
other types of material). As an
intaglio method of printmaking
it is, along with engraving, the
most important technique for
old master prints, and
remains widely used today.

115. Intaglio ( for printing )
Depressions are cut on
a printing plate.
the grooves can be
fractions of a mm wide.
The plate is covered in ink
The ink is wiped off the
surface of the plate,
but remains in the grooves
Paper is placed on the plate
and compressed, such as
by a heavy roller
The paper is removed,
the ink has been transferred
from the plate to the paper
Intaglio engraving : Germany 1430

116. Embossing

117. Embossing :

120. Veneering

121. Veneer
Today veneers are cut by
heavy slicing machinery.
Logs are pre-treated by
soaking or steaming to soften
the fibres and are then sliced
by rotating the log or flitch
against a blade.
The cutting may be carried
out at various angles to the
growth rings of the log,
resulting in different figures
such as "crown cut", "rotary",
"quartered" and "half-
quartered" .
• Veneers used to be sawn
from logs, either by hand or
by saw-mill, resulting in
sheets of anything up to
1/4" thick and as much
sawdust as usable veneer.

122. Veneering :
Rotary
Flat

123. Half round
Plain

124. Rift
Quartered

125. Edging
Vacu- press
Edge bander
veneer
Rollers &
Smoothing blades
Example

126. Woodturning

127. Woodturning
 Woodturning is a
form of woodworking
that is used to create
wooden objects on a
lathe (see: also
antique wooden
polelathe).
Woodturning differs
from most other
forms of woodworking
in that the wood is
moving while a
stationary tool is used
to cut and shape it.
Many intricate shapes
and designs can be
made by turning
wood.

128.  There are two distinct methods of
turning wood: spindle turning and
faceplate turning. In spindle turning,
the wood is fixed between 2 points.
The spur center digs in to the wood
and is powered by a motor. The
other, a hard center or a live center
may be a point or set of points in the
tailstock. In face plate turning, the
wood is secured with screws to a
faceplate or in a chuck or jig. the tail
stock and a center may also be used
for added support on large pieces
with a faceplate. Most bowls, platters
and many vessels are face plate
turned, while, Pens, furniture legs,
spindles, and some vessels are
spindle turned. The method used may
differ depending on the shape of the
blank and the technique of the turner,
and both methods may be used on
the same piece.

129. Wood turning : tools
 roughing gouge
 spindle / detail gouge
 bowl gouge
 skew chisel
 parting tool
 hollowing tool
 scraper,
 bowl saver
 Auger
 chatter tool
 Wire & others

131. A Woodturning :project

136. UPHOLSTERY

137. Upholstery

138.  There are five parts to many
pieces of upholstered
furniture: the frame, the
springs, the padding, the
material that covers it, called
upholstery fabric, and
sometimes cushions.
 Although many people may think
of upholstery in terms of the
material—often fabric—that covers
the whole, it actually refers to
everything besides the frame: the
stuffing, springs, covering material,
and cushions.
 The upholstery of a piece of
furniture determines a great deal
about how it looks and how it feels.
To a large extent, it determines the
cost. It determines whether the
furniture feels--firm or soft. The
type and quality of the upholstery
also determines how it will last.

141. Upholstery fabric is very important in at least three
ways:
 • It plays a large role in creating the style of the
furniture it covers.
 • Its cleaning requirements and delicacy or durability
play a large role in the type of use that the furniture is
appropriate for and the time, energy, and expense
involved in maintenance.
 • Its cost may represent the largest percentage of the
cost of the entire piece of furniture.

142. Tools for upholstery:

143. Webbing - strong fabric woven as a flat
strip or tube of varying width and fibers
often used in place of rope.
The name webbing comes from the
meshed material frequently Webbing is
used in couches and chairs as a base
for the seating areas that is both strong
and flexible. Many types of outdoor
furniture use little more than thin light
webbing for the seating areas.
Webbing is also used to reinforce joints
and areas that tend to flex.

145. Upholstery
 The frame style and the amount of support desired
determine the type of foundation used in constructing
upholstery. Eight-way, hand-tied, coil spring
construction was once considered the hallmark of
quality upholstery. In this type of foundation, each coil
spring is placed in the seat by hand and tied into
place with twine in a series of interlocking knots.
 Although eight-way, hand-tied coils are still a mark of
fine craftsmanship, other construction techniques,
including new steel spring configurations, offer equal
comfort and durability. In general, the number of
springs and how they are reinforced determines cost
and quality.

146.  Depending on the product's
design, the back and seat
cushions may include a
combination of springs, cotton or
polyester fiber, foam or down.
 Most upholstery cushions are
made from some type of
polyurethane foam.
 Density is used to gauge the
durability of foam, and, generally,
the higher the density the more
durable (and more expensive) the
cushion will be. Better quality
upholstered furniture uses foam
with a density rating of 1.8 to 2.5.
 Foam cushions should be
wrapped or covered to protect the
foam from direct contact with the
upholstery fabric.

147. Cushioning
 High density
polyurethane foam
wrapped in Dacron is the
most common (and least
expensive) seat core in
upholstered furniture.
The density of foam and
quantity of Dacron will
determine the softness of
the upholstered seat.

148.  Spring-Down
cushions consist of
innerspring coils
surrounded by foam
and wrapped in
Dacron. This whole
unit is then inserted
into a muslin bag of
channeled blendown.
The springs give the
upholstered furniture
support, while the
blendown gives a
luxurious surface
feel.

149.  Blendown cushions offer
the softest seat, utilizing a
combination of down &
feathers sometimes
wrapped around a foam
core & then encased in a
muslin bag.
 This cushion does
not retain its shape
without an occasional
fluffing. Back cushions
are primarily filled with
Dacron fiber.
 Encasing the filling
in a bag helps the
cushions keep their
proper shape.
 In better quality
upholstered furniture,
blendown is substituted
for a more luxurious feel.

150.  Blenddown cushions offer
the softest seat, utilizing a
combination of down &
feathers sometimes
wrapped around a foam
core & then encased in a
muslin bag.
 This cushion does
not retain its shape
without an occasional
fluffing. Back cushions
are primarily filled with
Dacron fiber.
 Encasing the filling
in a bag helps the
cushions keep their
proper shape.
 In better quality
upholstered furniture,
blendown is substituted
for a more luxurious feel.

151. Fabrics for upholstery
 Cover components fall into
just two basic categories:
natural and synthetic.
-- Natural components include
cotton, linen, silk, wool and,
of course, leather.
-- Synthetics include acetate,
acrylic, nylon, rayon and
polypropylene.
Many fabrics are woven with a
combination of natural and
synthetic fibers.
 Fabrics combining a tight
weave and durable fibers like
nylon or polypropylene are a
good choice for active use.
Leather is durable and
chosen by many.
Upholstery fabric is
very important in
at least three
ways:
 • It plays a large
role in creating
the style of the
furniture it
covers.
 • Its cleaning
requirements
and delicacy or
durability play a
large role in the
type of use that
the furniture is
appropriate for
and the time,
energy, and
expense
involved in
maintenance.
 • Its cost may
represent the
largest
percentage of
the cost of the
entire piece of
furniture.

152. Canework

153. Cane work
Splint
Rush Cane

155. Ready made

156.  Spline, Pressed,
Machine Woven,
Sheet, Roll, or
Webbing Cane
Traditional Hand Caning or
Hole-to-Hole or Strand Caning

157.  Checkerboard
Seagrass Seat
Weaving
 Paper Fibre Rush

158.  Lattice or Rustic –
Open Seat Weaving
 Splits or Splint
Seat Weaving

159.  Fancy Cane–Spiderweb,
Star of David, Daisy, and
Snowflake Cane
 Porch Cane, Binder
Cane, or Slab Rattan
Danish Modern–Cane
or Cord

160. Rush–Natural Cattail Leaf or
Bulrush and Paper Fibre Rush
Cattail leaf
Bulrush

165. Summarizing
REASONS :
DEPENDS ON :
 To protect / durability
 To bring out its natural beauty
 To increase its durability
 To enhance / adorn.
 To add to its appearance
 To make comfortable
 To make maintenance easy
 Effect / impact desired , wear and
tear, usage / function

168. References
 www.wooddatabase.com