Turning Archive 2004
>Subj: Thurday chat
Date: 8/23/2004 12:49:08 PM Central Standard Time
Last week was an interesting chat. We discovered that sheen is allocated a factor from zero to one hundred. A measurement that is taken by a device shining a light at a measured angle and calculating the amount of light returned to the device. Such devices are designed for the paint industry, and the numbers 0-100 are for opaque paints on non metallic surfaces. (metallic surfaces can exceed 100) Optical Properties: Gloss Measurement [PRA Coatings Technology Centre] These numbers are based on reflective light only, and do not take into account refracted light.
We discussed a number of methods used to arrive at a particular sheen. Most of our discussion was about smoothing the surface. So we spent no time discussing how these numbers might need to be adjusted if we use flatting agents within a clear film coat. And what different effects would be achieved by having a flat lacquer buffed to a smooth glossy surface sheen and a gloss lacquer buffed to a dull sheen.
We also touched on the philosophy that there is a commonly acceptable ideal sheen. The number would be between 60-75, which happens to be the range of almost all naturally shiny organic materials. Gold that is not burnished, polished leather, bone and ivory, brass,silver and any number of materials that are used in conjunction with wood in the design and manufacture of decorative objects.
Some hard woods polish to this level without much assistance from the finishing room at all. While others need some help getting there.
This week I though we might start the chat by discussing some of these points. Do we have favorites? Do some woods look better one way than another? Do we prefer to use flatting agents, or buff to larger grit? Do we use contrasting sheen's in our work? (texture) Do we treat horizontal surfaces differently to vertical surfaces? How important is the feel? (tactile)
Regards Sam Simpson.