Hi,
Bone black, OhhhhK. First let me mention that the finish on the rifle is Sutherland-Welles polymerized tung oil medium gloss. I used all kinds of finishes on my guns over 40 years but I prefer polymerized tung oil over all else. The key emphasis is on "polymerized". This is not raw tung oil or Minwax and Formby's tung oil finishes. This is tung oil heat treated to speed up drying and mixed with some solvents. I buy it directly from SW who are in Vermont. On a warm day, it is dry to the touch in 4 hours and ready for the next coat in 12-24 hours depending on heat and humidity. That said, like any finish, if the humidity is high or the temp drops below 65 degrees, it may take a while to dry. I can mimic virtually all vintage finishes with it depending on my objectives and it is has superior weather resistance to anything containing linseed oil, which includes Tru-Oil.
I am no expert on shading gun stocks with bone black. Jim Kibler is and is an artist with it. I am still learning my way and use it tentatively. The idea is to add a black shadow effect that mimics age. I do like the effect but to what extent I simply am not sure. I would never do it unless I also will age the brass, lock, and barrel. But what do I mean by age? I really don't know. Is a little aging like being a little pregnant? You are either pregnant or you are not. Anyway, I do like the look of the bone black and hopefully use it effectively on this gun. You can decide that when I post the final images of the completed gun. I will be tarnishing the brass, lock and barrel to look consistent with the stock. To use bone black on a stock and then polish the brass bright and shiny is not a good idea.
So here is the raw material.
The stock has 2 coats of tung oil thinned 50% with mineral spirits as a sealer. Those coats dried thoroughly in the sun and then I began to add the bone black.
I use bone black pigment supplied by Jim Kibler and a small amount of tung oil finish. I pour a little bone black in one jar lid and a very small quantity of tung oil finish in another.
I use a good quality brush, dampen it with oil and dip it into the bone black. The trick is not to create a black paste in the brush but a fairly dry pigment that brushes on not like paint but more like damp sand. It should create wispy streaks of black not a coating.
I then work the pigment into areas that make the carving pop but also where grime and finish might build up and not get wiped away.
Here I am using it to create a halo around the sun.
Here to highlight carving around the lock.
And highlight carving on the other side.
Then I wipe off the excess with a paper towel where I don't want it and here is the result.
Now that is not the end because the next coat of finish after the black glazing has dried will wipe away some of the black and feather it a bit. You have to be careful that you don't wipe it all off before it is locked in place by successive coats of finish.
dave