Beginner

Finishing a Guitar: Lacquer, French Polish, Oil

Three finishes, three completely different processes, and one rule that applies to all of them: the finish is thin, and it takes weeks.

A guitar finish is a protective film measured in tenths of a millimetre. It keeps moisture out of the wood, stops dirt getting into the pores, and slows the wear that playing causes. It also adds mass to the soundboard, which is why the best finishes are the thinnest ones that still do the job.

There are three approaches worth knowing, and they are genuinely different processes rather than variations on one. Which you choose depends on what you are building, what equipment you have, and how much time you are prepared to spend.

Nitrocellulose lacquer

Nitrocellulose lacquer is the classic guitar finish: sprayed in many thin coats, each melting into the one below, then cured and buffed to a gloss. It is thin, clear, and it shows the wood off. It also repairs invisibly, because a new coat melts into the old one.

The costs are time and hazard. A full nitro finish takes weeks: spray sessions, sanding between coats, then a cure of two to six weeks before final buffing. The solvent is toxic, highly flammable, and regulated in many places.

  1. Sand to final grit

    Take the surface to 320 or 400 grit, flat and clean, with no sanding scratches left from earlier grits.

  2. Seal

    Apply a thin sanding sealer coat to stop the topcoat sinking into the pores. Sand back lightly.

  3. Spray thin coats

    Twelve to twenty coats, each thin, recoating within the window the product allows.

  4. Level between sessions

    Block-sand between coats once enough film has built up to work with.

  5. Cure fully

    Two to six weeks. Do not rush this. Buffing soft lacquer leaves swirl marks that never come out.

  6. Cut and buff

    Wet-sand progressively from 800 to 2000, then compound and polish to the sheen you want.

Humidity will ruin the finish

Spraying above about 60 percent relative humidity traps moisture in the film and the finish blushes white. You cannot fix it by spraying more. Check the humidity before every session and stop if it is too high.

French polish

French polish is shellac applied by hand with a pad rather than sprayed. The pad is charged with shellac and a drop of oil, and worked over the surface in overlapping patterns until the film builds. It produces the thinnest possible finish, which is why classical guitars use it.

It is slow, physical work and the result is fragile: heat, alcohol and water all damage it. But it is repairable in place with the same pad, and it can be built up on a finished instrument without stripping it back.

Oil

An oil finish — tung, linseed, or a modern polymerised oil — soaks into the wood rather than sitting on top of it. It is the easiest finish to apply and the most repairable, because a new coat blends into the old with no witness line.

It is also the least protective. An oil finish does not build a film, so it does not stop moisture movement the way lacquer does, and it offers very little resistance to wear. It suits necks, where a slippery surface is a feature, and instruments that will be maintained rather than abused.

FinishThicknessProtectionTimeRepairable
Nitrocellulose lacquerThin filmGoodWeeksYes, melts in
French polishThinnest filmPoorDays to weeksYes, in place
OilNo filmMinimalDaysYes, easily
Catalysed polyurethaneThick filmExcellentDaysNo, hard to repair

The safety part is not optional

Nitrocellulose lacquer and its thinner are toxic, highly flammable, and subject to air-quality regulation in many jurisdictions. Spraying them in a garage with the door shut is how people end up in hospital.

Spray outdoors or in a properly extracted booth. Wear an organic-vapour respirator, not a dust mask. Solvent vapour is heavier than air and pools at floor level, so ventilate low as well as high. Keep every ignition source out of the area — including a water heater or a boiler in the next room.

Read the safety data sheet

Every solvent product you open should come with a safety data sheet. Read it. It tells you the flash point, the exposure limits and the correct respirator — three things that matter more than the spraying technique.

The finish protects the wood and adds mass to the soundboard. Every decision is a trade between the two.
Finishing specialist and workshop safety lead

Ingrid Lindqvist

Sprays lacquer for a living, teaches finishing workshops, and has the air-quality paperwork to prove she takes solvent safety seriously.

SafetyGuitar making involves sharp edge tools, wood dust, reactive adhesives and strings under high tension. Cut away from yourself and keep both hands behind the cutting edge, use extraction or a P2/P100 respirator when you sand, ventilate when you use CA, epoxy or lacquer, wear eye protection when you cut fret wire, and bring strings up to pitch gradually on an instrument you have just built. Nothing in this article is a substitute for instruction from someone experienced looking at your actual instrument.
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