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PostPosted: Wed Sep 18, 2019 10:15 pm 
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My interpretation of filling and sanding back is that any coat of finish conforms to the surface beneath it. A pore will remain no matter how many coats are applied because the high areas never got cut down to the height of the low areas (pores). And leveling each application results in a thinner finish.

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PostPosted: Thu Sep 19, 2019 6:46 am 
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[quote="phavriluk"]My interpretation of filling and sanding back is that any coat of finish conforms to the surface beneath it. A pore will remain no matter how many coats are applied because the high areas never got cut down to the height of the low areas (pores). And leveling each application results in a thinner finish, which is why the pores eventually reappear when finishes shrink over subsequent months.

You're right, which is why filling has to include leveling the choice of pore filler by sanding down to the wood, leaving the filler in the pores only. Eventually, the pores fill, leaving a level surface for the finishing.

When pore filling, after sanding the filler back down to the wood, I inspect the wood under a good light source. If I see little shiny spots or specs, then I know the pores aren't filled yet, and I apply another coat.


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PostPosted: Thu Sep 19, 2019 7:54 am 
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Diane, thanks for mentioning sanding back all the way. I skipped that part....

And I use a sanding block of some sort, no palm sanding, in the interests of a level surface. I constantly surprise myself with how visibly cheating and doing local touchup sanding without a block shows up later. So much work to do it right, so easy to cheat.

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PostPosted: Thu Sep 19, 2019 2:35 pm 
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phavriluk wrote:
Diane, thanks for mentioning sanding back all the way. I skipped that part....

And I use a sanding block of some sort, no palm sanding, in the interests of a level surface. I constantly surprise myself with how visibly cheating and doing local touchup sanding without a block shows up later. So much work to do it right, so easy to cheat.

You are so right. A sanding block is essential. Sanding by hand invites all kinds of problems. Never sand by hand, unless you want ruts and uneven areas In your guitar.

As John has pointed out in the forum, finishing is the Achilles heel of building. Attention to detail is paramount and there are no shortcuts. I'll repeat that...there are NO shortcuts. Trust me, if there were and it worked, I would have found one by now. Lol


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PostPosted: Sun Sep 22, 2019 8:17 pm 
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What she said. No shortcuts. Surface prep is critical. If you get that right, the job of applying the finish is vastly easier.

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When things are bad, try not to make them any worse, because it is quite likely they are bad enough already. - French Foreign Legion


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PostPosted: Sun Sep 22, 2019 9:02 pm 
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Joined: Fri Mar 03, 2006 7:09 pm
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Location: Hegins, Pa
agree that the sanding block is critical
simple sanding blocks I make use pipe insulation tape on plywood and these stupid things make
great blocks
https://www.amazon.com/Giant-Jumbo-Pink ... B00HZ0FN8W

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PostPosted: Mon Sep 23, 2019 3:42 am 
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If you want a block with some padding to it, McMaster-Carr sells hard felt i1n 1/2" thck sheets that can be cut into handy sizes and odd shapes easily.

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Don't believe everything you know.
Anything is possible if you don't know what you are talking about.
When things are bad, try not to make them any worse, because it is quite likely they are bad enough already. - French Foreign Legion


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PostPosted: Wed Sep 25, 2019 2:34 pm 
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Joined: Sun Jun 25, 2017 3:58 pm
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Location: St. Louis area
Scott Novak wrote:
I really like the natural color of the mahogany on this guitar and I don't plan to stain it.

Do you normally try to match the color of the wood with the pore filler or go lighter or darker to contrast the wood color?

I remember seeing a very old Epiphone solid body guitar made from mahogany that appeared to use a lighter color pore filler than the green finish color.



Most of the finishing texts I have read advise to use a black pore fill on darker woods as it amplifies the shadow effect that light has on a pore. Look at mahogany necks with black pores to see what they mean. I agree FWIW.

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PostPosted: Wed Sep 25, 2019 3:11 pm 
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Kbore wrote:
Most of the finishing texts I have read advise to use a black pore fill on darker woods as it amplifies the shadow effect that light has on a pore. Look at mahogany necks with black pores to see what they mean. I agree FWIW.


I think I need to get a scrap piece of mahogany and experiment with pore filler colors before I try it on my guitar.

Scott Novak


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PostPosted: Wed Sep 25, 2019 3:57 pm 
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Scott Novak wrote:
Kbore wrote:
Most of the finishing texts I have read advise to use a black pore fill on darker woods as it amplifies the shadow effect that light has on a pore. Look at mahogany necks with black pores to see what they mean. I agree FWIW.


I think I need to get a scrap piece of mahogany and experiment with pore filler colors before I try it on my guitar.

Scott Novak

That's the best thing you can do.


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