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There are two alternative finishes which can be applied to butcher block countertops. The mineral oil finish is the one used for cutting surfaces. The oil conditions the wood so that it won't dry out, warp, or crack. Every time you wash the countertop you will remove some of the oil. Therefore, you should re-apply this non-toxic material every 6 weeks or so.

Mineral oil is not waterproof, so if the top gets wet, the grain could raise, making the wood feel rough. So having sinks in butcher block countertops is not a good idea. The area around the sink will eventually discolor, turning dark. Cut marks from knives are easily sanded out, but then you should re-oil.

Another finish used on wood countertops is the "varnique" finish. This is a baked on satin polyurethane finish. It is safe for contact with food, and it has a low sheen, which most folks are happy with.

You shouldn't cut on butcher block countertops with this finish because cutting will remove the protection, leaving the wood exposed to water and other household liquids. It is extremely difficult to fix cuts in this finish so that you won't notice them.

However, if you're not cutting on this finish, the advantage is that it is virtually carefree. It's waterproof, so you can have a sink cut out in it. And you can spill grape juice of red wine on it, wipe it away, and not have a stain.

In kitchens that combine stone and butcher block countertops, homeowners usually want to do some cutting on the wood surface, so they want the oil finish. If you only want it for looks, then go with the varnique.

Several companies offer butcher block countertops in many wood species, at different price points. Hard maple (also known as sugar maple) is the best choice for cutting because it has the tightest grain and is the hardest of the appropriate woods. Lower grades of maple include: western maple, soft maple, and Chinese maple. These are all soft woods and they're not good surfaces that will take a lot of abuse.

Cherry and walnut are softer than hard maple, but very pretty and more expensive. Red oak is a very rough and grainy option, but is one of the least expensive choices for wood countertops.

It might appear that some companies are practically giving away their butcher block countertops. This is because they finger joint random scraps of whatever wood they have and call it a butcher block.

Mixed finger-jointed woods can have serious issues in time and you should stay away from them. So don't be like most people who just look at the price.

Thickness is another consideration when buying butcher block. The standard is 1 1/2" - any thinner than that is not a good idea. This thickness if fine up to 42" in length. Once you get longer, you should go to 1 3/4" to prevent warping in the future.

Any thicker is not necessary under any circumstances, but some people just like the look of thicker tops. If this is you, think about getting a 1 3/4" top and building up the edge. This will probably save you a lot of money.

At 2 1/4" thick (which is the next standard after 1 3/4") the price doubles, and can nearly triple at 3" thick. There is no price per square foot for butcher block countertops, so don't even ask. Have your size, shape, wood species, thickness, finish and cutouts ready for a quote. You have to price each piece because all those elements affect the price.

Good luck.

Charles Gueli has worked in the construction industry for over 40 years. He invites you to ask questions about butcher block countertops and take advantage of the resources at http://www.continuous-home-improvement-help.com, where guidance, information and support are always available - helping the homeowner make better decisions.

Tips on Oil Painting - One Basic Approach to Creating an Oil Painting

In this article I will give you an overview of my personal approach to the creation of an oil painting. There are of course many valid approaches to painting and with experience you will develop your own specific approach. But if you are a beginning painter you may want to try and practice the following approach:

* The Drawing Phase - Usually I first execute a regular drawing on the canvas. This drawing can be anything from a few lines to a completely detailed map of all the forms. This may even include indications of where the lights and the darks are and what colors need to be used.

A good drawing tool for an oil painting is charcoal. Of course, the best tool is some neutral mixture of thinned paint and a brush. However, this takes some getting used to. Often, I actually use a graphite pencil and when the drawing is finished I spray the drawing with workable fixative. If you do use graphite you need to draw very lightly because graphite can bleed through your paint. 

The advantage of starting with a drawing is that many important decisions can be made up-front and that everything is in place by the time you finish the drawing. After that, all that is left is painting. 

* The Block-in Phase - This is the first painting phase. I use fairly thinned-out paint and a brush that feels a little large than it should be. Here you focus on the big shapes that you see in your drawing. Don’t pay attention to detail. What is important here is that you observe the colors of the shapes correctly and that you maintain the integrity of the drawing.

Usually I start out with the dark shapes. Then I proceed with the brightest colored shapes (i.e., those that stand out), always making sure the colors stay harmonized. Finally, I put in the more subtle colors many of which will be duller and more difficult to judge.  

Again, in this phase hold back on painting details. Maintaining the correct geometry of the large shapes, their exact color (hue, intensity, and value), and their correct position within the composition is the task at hand. And don’t forget to include the background.

At the end of this phase my canvas is usually completely covered with paint, i.e., no white areas are left unpainted. This gives you a good idea of how all the colors look like relative to each other and if they harmonize without the influence of bright white areas.

* The Shaping Phase - Now you can begin to model the large shapes and refine them so they start to resemble the actual objects you are trying to paint. In this phase I use a thicker paint than in the Block-in Phase and also a somewhat smaller brush. Also, I refine the color relationships in terms of hue, intensity, and value as best as I can.

This phase usually requires the most time and effort. Still, do not be tempted to put in fine detail. At the end of this phase you should already have a very good idea of how the end product will look like.

* The Detail Phase - This is the last phase. This is the time to indulge in the details. Details include things like small twigs, pupils and irises for the eyes, small lines and curves, and highlight, in other words, anything that cannot be done with a large brush. Some details require thin paint (best done over a dry underground) and others, such as highlights, often require lots of thick paint right out of the tube.

The above guidelines are admittedly not complete in detail but are a good starting point for any beginning oil painter.

About the Author

Remi Engels, Ph.D., is a pencil portrait artist and oil painter. He is also the author of a popular Pencil Portrait Drawing Course. Get Your Free copy here: Remi's Pencil Portrait Drawing Course while supplies last.

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