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I've been working on figuring out this finish. People call it "Tiger's Eye". Has anyone here done it successfully?
I ran some test boards. The ones that I see on guitars like PRS and Warmorth seem to have curls that are pretty black. Mine just look brown. The way I've been doing it is multiple applications of dye, sanding back a little less each time. Afterward, applying clear coating to check how I did.

Any tips? Isn't there someone here that used to work for Warmoth that once gave me some good fretting advice?

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"I'm not going to say that perfection has never been achieved. However, if it has, it probably went unnoticed due to it's lack of character."

Try starting with a black dye. Sand back till you have the amount of it you want and create the other colors over top with shading lacquer.

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Brian

You never know what you are capable of until you actually try.

https://www.howardguitarsdelaware.com/

Yeah... That's what I've been doing. I feel like I've gotten close. Just wondering if there are any specific things to look out for. It's entirely possible that I need a better piece of curly maple.

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"I'm not going to say that perfection has never been achieved. However, if it has, it probably went unnoticed due to it's lack of character."

That was going to be the next thing I brought up, wood selection had a lot to do with it. The more extreme the changes on run out the darker the "curls“ will get. What type of dyes are you using?

_________________
Brian

You never know what you are capable of until you actually try.

https://www.howardguitarsdelaware.com/

A 20% mixture of black dye (Transtint or other liquid, water soluble dye) to water is wiped liberally into the wood...to a damp to wet degree. This is a MUCH denser ratio than I would have thought was proper...and you can go through a lot of dye doing it...but it's that density of dye that produces the effect. Keep in mind you can only do so much with a marginally figured piece.

I've had this process described to me on the phone by Scott Walker while I took notes. Scott has demonstrably mastered this process. I haven't done it myself on a guitar...only on test panels...but they are nice....certainly like you want it.

Then, after sanding it back, repeat the first process with the black and sand it back.
After that, use a 10% solution of the color you intend to use...and sand THAT back.
Finally, use a final solution that achieves the color you want.
Topcoats are clear but you could forego the last color dye on the wood and dye the tint instead.

I have a layered wood concept that prevents me from really using this technique to pop the figure. I can't dye only one of the layers without contaminating the other. Thank goodness because it's a LOT of sanding. I do like the look but in order to do it I'd have to toss out a feature that may help to identify my instruments.

http://i1299.photobucket.com/albums/ag7 ... c1a51d.jpg

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I read Emerson on the can. A foolish consistency is the hobgoblin of little minds...true...but a consistent reading of Emerson has its uses nevertheless.

StuMusic

I'm using the transtint dyes. Black, bright red and Honey Amber. Honestly, I've been able to get a large amount of chatoyance with what I've done thus far. I'm just puzzled as to how some of these finishes end up with such an extreme contrast and such a pronounced black color in the figure. One of the test boards I had went from curly to more of a quilt. Possibly where a knot was about to form. That one section seemed make the black jump out more so maybe wood choice is the key.

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"I'm not going to say that perfection has never been achieved. However, if it has, it probably went unnoticed due to it's lack of character."

Wood choice..... When you find a piece with really deep figure, it'll all happen!

Even if you're piece is a perfect candidate you'll only get it so black without a fairly deep ratio of dye to water. Try to visualize whats happening. The dye is seeping into the open grain...but only so far. What it actually dyes are the sides of a more or less tubular wall. After it dries...there just isn't a lot of coloration there unless the dye has a deep intensity. Even then it's not much and requires subsequent dye to increase it's depth of tone.

Grumpy....would the process and ratios I described seem like overkill on a very deeply figured piece? Or would you go through about the same process?

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I read Emerson on the can. A foolish consistency is the hobgoblin of little minds...true...but a consistent reading of Emerson has its uses nevertheless.

StuMusic

Learning to see the cellular structure of the wood and not the grain is a big help in selecting wood, especially figured wood.Like Grumpy said, find the right piece.....

I use Solar-lux dyes rather than transtint. Penetration is usually not a problem, in fact I sometimes will dilute them so they are not so strong when applying to bare wood. What grit are you prepping at before the dye? Doing your initial "white out" sanding on the coarser side will open up the grain and allow better penetration. Then sand back the dye at a finer grit to remove the dye and the heavier scratches, it may be something worth trying.

_________________
Brian

You never know what you are capable of until you actually try.

https://www.howardguitarsdelaware.com/

I've tried with different grits. Haven't seen much of a difference there although this isn't the first time I've heard of that so there must be something to it.

I may not be using enough dye. I'll have to give that a shot.

Also, I picked up a really curly piece recently and just wiped some dye on a scrap piece and without even sanding it back it lit up like a Christmas tree. I guess I answered my own question. Just wanted to make sure it wasn't my technique.

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"I'm not going to say that perfection has never been achieved. However, if it has, it probably went unnoticed due to it's lack of character."

Another old trick is to wipe the wood with a dilute solution of DA, say 50/50 with water and then wipe the dye on right away, seems to carry it deeper into the grain sometimes.

_________________
Brian

You never know what you are capable of until you actually try.

https://www.howardguitarsdelaware.com/