Colors (Clear and now Satin) in Aerosol Sprays

About the Colors....
Where possible the colors are matches to paint found in the control cavities of original instruments as they were undergoing restoration. Colors matched in these areas usually do not show signs of environmental damage or smoke discoloration. They also are not as greatly affected by the color shifting caused by the ultraviolet yellowing of the nitrocellulose clear coat. In other words, these colors have been matched to the truest paint chips available; protected original samples. Where no original colors were available for matching  the original Dupont Duco and Lucite formulas were first mixed in an acrylic mix and then recreated in a nitrocellulose lacquer. Note that the nitrocellulose clear coat offered will yellow over time and gracefully age the color and bindings. Opaque colors are blended in nitrocellulose lacquer as were the original colors. Translucent colors are blended wood dyes, again, as were the original colors. The Les Paul Gold contains the same fine copper dust from the same manufacturer as was used on the original Gold Tops. The supplier of the dust also still supplies the powder to Gibson although mica powder is believed to be used on some of the more recent Gold Tops. The original gold is iridescent and will flash a green tint when viewed at different angles. Mica gold will not.

About The Aerosol Spray System....
The paints and dyes are delivered by 16 fluid oz. aerosol spray cans. The products offered are loaded to achieve the best coverage for the specific application. For example, Butterscotch is loaded as a "light" load not to decrease cost but to prevent too heavy of a first application and to reduce the chance of stripes in the finish. Blonde, being a slightly opaque finish, is loaded as a "medium" load to allow the user to gradually opaque the grain in a number of coats rather than give a completely opaque finish in one or two coats. TV Yellow and Dakota Red are loaded as "heavy" loads with the goal being to opaque quickly and completely. The clear nitrocellulose lacquer is also loaded as a heavy load to give good "wet out" and build. Various spray tips are also available and are mated with the specific product to give the best results. The products are essentially a two part application of color followed by clear coats. They can then be finished and polished as detailed on the associated pages of The Guitar ReRanch.

Aerosol Prices

All colors in 16 fluid oz. aerosol cans; $15.95.

Clear and Satin Nitrocellulose Lacquer in 16 fluid oz.
aerosol cans; $12.95.

Wood Satin Clear Coat
In response to those of you who have asked for a finish that feels less like polished lacquer and more like natural wood, Wood Satin Clear nitrocellulose is now available. It will work over Neck Amber and unlike tung oil will protect the neck from from warping due to moisture absorption. Wood Satin can also be used to give a guitar body a flat finish.

Tinted Clear Coat
Another product that the customers asked for.... Tinted Clear Coat is available in either a gloss or satin finish. The nitrocellulose clear coat has been tinted with a slight amber/yellow wood dye blend to replicate the look of aged lacquer. The tinted clear can be used to age a color, new bindings, pickguards or age the typical wear areas of a relic.

White Lacquer Based Primer
White primer is suggested for use over the Sand and Sealer 
coat and before the application of the color coat. A satisfactory finish can be accomplished without the use of a primer, but more color coats may be required. The white primer coat will dry to a matte finish, therefore allowing greater adhesion of the color coat. Light sanding of the primer coat is acceptable if necessary.

Fender Neck Amber
Neck Amber replicates the amber look used on Fender necks as well as many other solid body electric necks. It is shown here on maple. The color can be adjusted from the darker look of the fifties and sixties to the lighter look of the seventies by varying the number of passes sprayed. The aerosol contains the correct wood dye color mix but contains no lacquer in the mix. Therefore, it must be clear coated after the color has been applied.

Fender Blonde
The color is slightly whitish and was mixed to the color found in the neck pocket of a '62 Telecaster. The color originally appeared in 1956. It is a pigmented color that opaques the grain if sprayed too heavily. The grain should be opaqued about 50%. Clear coat with nitrocellulose for a finish that will age over time.
 

Butterscotch
Butterscotch is an wood dye blend which does not opaque the grain. It has been matched to the body of a '52 Telecaster Reissue (1983). The color also works well on birdseye maple capped Tele's as it enhances the birdseye. It can be used for  tinting maple necks as well. Shown here on ash.
 

Butterscotch Blonde
Although the original color as applied in 1952 may or may not have not been the color we know today, nearly 50 years of aging (and a lot of cigarette smoke) has given us the color most associated with the Tele's of the early fifties. The color is pigmented and should be applied lightly so as not to completely obscure the grain. This is the color you need for your new "Relic"

Black
In the past I have used and recommended  a well known manufacturers nitrocellulose black for the pigment coats of Black Beauties and such. Recently I have been told that the color in nitrocellulose has been difficult to find. So, if you need a very opaque nitrocellulose that when clear coated shows great depth and gloss this is the color for you.

Blue Translucent 
Blue is now available in an aerosol spray. The  dye used in the aerosol is the same fine dye sold in the dry form below. The color will range from medium blue to navy depending on the number of passes sprayed. The dye shows the grain of the wood and is an excellent choice for maple or figured alder and ash. There is no lacquer in the aerosol and as such must be clear coated. Click on the thumbnail for a larger view.

Burgundy Mist Metallic
Burgundy Mist is finally available in an aerosol.  It was  originally used on the 1959 Oldsmobile  and found it's way to Fender in 1960. It was offered as a Fender custom color until 1965. Like all metallics it should be clear coated. 
 
 

Copper Tone Metallic
In 1954 Fender produced a prototype Tele in copper.  Fender has since offered the color on special order '52 Reissuses. Copper Tone Metallic replicates that color. The color is blended in a high metallic acrylic lacquer and depending on the light source along with  the viewing direction will appear to be light gold to copper to red copper.  It should be applied over a prepped and white primed body. The color can be used with or without a clear coat. However, clearcoating with nitrocellulose slightly deepens the color and makes the color appear more "coppery". General consensus around here prefers the clear coat.
 

Daphne Blue
Daphne Blue found its way into the Fender color scheme in 1960 and stayed until 1965. Originally an automotive color, it was offered only on the 1958 Cadillac. Like many of the colors from the Custom Color era it is again offered by Fender. Slightly darker than Sonic Blue, Daphne Blue can be warmed and aged with a clear coating of nitrocellulose lacquer. A white primer is recommended for more efficient covering.

Cherry and Heritage Red
Both the Cherry (Es335 Red) and Heritage Red (SG Red) can be replicated with the same aerosol spray. The choice of wood will determines the final color. This first sample shows the aerosol color sprayed over maple which was first tinted with a water based wood dye (in this case our GRREDL) . The second sample shows the Cherry Red aerosol as it appears when  sprayed over untinted mahogany.  Both applications require clear coating to bring out the vibrant nature of the color. 

Dakota Red
Introduced in 1958 for Cadillac the color was quickly ushered into the Fender line of colors. It can be sprayed over the prepped and filled body or over a prepped and filled body sprayed with a white primer. The color completely opaques the grain and is the "reddest" of the Fender colors. If clear coated a "deeper" finish can be obtained.
 

Fiesta Red
Although Fender seemed to favor General Motors colors for their guitars here is a color for the Ford guys. Fiesta Red found its way to the public eye on the '56 Thunderbird and was discontinued the next year. It was used by Fender from '60 to '69. The color is lighter and more orange than the truer red of Dakota Red. Fiesta Red will look great with white trim. Can be clear coated for a deeper finish.

Gold Top Gold
Original Gold Top powder as first used  by Gibson in 1952 for the Les Paul model is actually a fine bronze powder. Bronze powder, as opposed to a mica powder, will show a slight green iridescence as do original Les Pauls they are when viewed at an angle. The supplier of our powder is also the bronze powder supplier to Gibson. All of the Gold Tops (including the '54 shown to the right) refinished by The Reranch in the last year have been "gilded" using the aerosol sprays. Not only do the aerosols spray the powder more finely and evenly than most spray rigs, the tedious task of cleaning the powder from the spray gun is eliminated. One can should be enough for a top. Spray the powder over a white primer for quicker coverage and after applying the gold must be clear coated to protect it and "lock" it in place. Body preparation is very important so be sure to review the steps given on the ReRanch Gold Top page.

Ice Blue Metallic
Ice Blue Metallic (also called Blue Ice and Silver Blue  by Dupont) Is  a 1965, '66 Ford color and used by Fender from 1965 to '69. The color has a very fine metallic component but will change color dramatically depending on the viewing angle. Ice Blue is the quieter, and perhaps cooler, brother of Lake Placid Blue.

Inca Sliver
The color first appeared on the 1957 Corvette and continued through 1959.  Fender used the color from 1960 until 1965. The color has a high metallic content but due to the fineness of the metallics it is very easy to apply. Unlike some metallics If too wet of a coat is applied Inca Silver dries flat and consistent. The color can be used with or without a clear coat and a white primer is preferred.

Lake Placid Blue Metallic
One of the all time favorites among "Fenderphiles", it is aptly  suited for the Strat type guitars in that the color changes from a medium blue metallic to a dark navy solid depending on ones viewing angle. The gentle flow of the body contours of the Strat take great advantage of this quality. It is a one layer color and can be applied over a prepped body or a prepped and white primed body. Clear coating adds to depth and iridescence and protects the metallic particles from any possible oxidation. And perhaps contrary to your intuition, Lake Placid Blue Metallic is a very easy finish to apply. For a good look at the color as applied go to the Lake Placid Blue Metallic page of our site.

Olympic White
While very white the color has a slight blue component in the mix. It can be clear coated to give an aged yellow appearance although it is believed that Fender did not clear coat the color because of this very reason. A white primer coat will serve well to prevent any natural color in the wood from bleeding through. It is a great color for use with gold components such as seen on the SG Les Paul Custom. 

Sea Foam Green
Slightly darker than Surf Green, Sea Foam Green (also called Foam Green by Dupont) is a great choice for either a Strat or Tele style body. Originally seen on the '56 Buick it saw life with Fender from '60 to '69. The color should be clear coated for a deeper shine.
 
 

Shell Pink
Reputed to be one of the rarest of the Fender custom colors it was first seen on the 1956 DeSotos. It was in the Fender lineup until 1963. Shell Pink looks best with a white pickguard and a pair of black and white patent leather loafers.
 
 
 

Sherwood Green
Originally seen on the '57 Mercury it was used by Fender from 1960 to '65. The color is a medium green with silver metallic undertones. While dark enough to apply directly over prepped wood a white primer coat is recommended. With a primer coat one can should be enough for a body and peghead.
 

Shoreline Gold Metallic
 A lighter gold than GoldTop Gold and more forgiving in it's application. The color is similar to the modern color "champagne". It was first seen on the '59 Pontiac and used from '60 to '65 by Fender. Although, there was a '58 Fender Shoreline Gold color in '58 it is believed that the color was a one off custom color and not true Shoreline Gold. The color works best over a white primer and clear coated.

Sonic Blue
What a color! It will work on any style solidbody but is especially revelent to the Mustang. Why Fender liked the color so much for the Mustang is a question left to be answered. However, the dirth of Strats and P-Basses finished in the color make them much more desirable. A very easy color to apply and when clear coated will age with grace. 
 

Surf Green
The color, if not a brother, is a close cousin of Sonic Blue. Most of you older guys will remember it from the '56 Chevy. The younger guys will remember it from... well, their Dads'  '56 Chevy. As evidenced by the prices (that is, if you can find one), there are not a lot of Surf Green any things out there. If you want an easy to apply color you will not see again in a "Blue Green Moon" this is the one for you. Clear coating  will again only add to the beauty. 

TV Yellow
TV Yellow was developed by Gibson in the early '50s to allow a "white" guitar to be played under the intense light required for black and white TV without the color overpowering the camera. The color is opaque but still shows the grain. It will display this magic only on an open grained wood. The subtle display of grain is difficult to display and may not show in the sample.  I think it has overpowered my scanner! The color works best on mahogany. See the TV Yellow page for more information. 

Vintage Cream
Seen on Strats and Teles from the late '60s until about 1974 it has   since been reoffered as "Vintage White" by Fender. The color is a light yellow that is probably best described as "banana pudding". The color is opaque and should be applied over a white primer and clear coated for the best gloss. The color will work with either a white or black pick guard. Vintage Cream should be one of the easiest colors to apply. Here's a good example of the color as applied; Vintage Cream Strat.

The Sunbursts offered are Three Color, Two Color and Acoustic. Each of the three patterns require two, three or four of the four aerosols in the sunburst product mixture. The four aerosols offered are;
Two Color Edge is a dark brown dye blended with a slight red component. It is used for the edge and transition edge of the body.  Traditionally, a two color burst has no black in the pattern. The "black" is actually a very dark brown sprayed in multiple passes to resemble black. Black can be used for the sides in place of the dark brown.
Three Color Edge is a medium brown color with a medium red content added. It forms not only the dark band on the top but also working with Burst Amber creates the red band between the Amber and the dark brown in a traditional solid body burst. Black is used in this pattern for the side and top edge of the pattern. This is  the color to use for the backs, sides and edge color when spraying a Gibson or Martin acoustic burst. It will also duplicate the red mahogany color of Les Paul backs and sides and Gibson necks.
Burst Amber This color is very similar to Fender Neck Amber but it has a slightly more golden and less yellow tint. It is the color for the centers of all three bursts.
Black is used on the very edge of the Three Color and is optional on the Two color. It is the same pigmented nitrocellulose offered above but when ordered with sunbursting products will be shipped with the fine tip spray nozzle.

The sunburst products are designed so that one can of the appropriate color is enough for one body. The exception may be the acoustic burst pattern. On large body acoustics if the back and sides are to be sprayed two cans of the Three Color Edge may be needed. See Sunburst Aerosol Instructions for more information.

Dyes have been used for years by woodworking craftsmen. The dyes give a vivid coloring to the field of the wood and enhance  the grain to give the  wood, when lacquered and polished, a "foot deep" finish. The dyes are also compatible with the nitrocellulose lacquer used for clear coating. Many poly and  oil based "hardware store" stains are not. The alcohol solvent dyes can mixed in either alcohol or lacquer reducer. Water solvent dyes, while somewhat trickier to use for multi-colored finishes, can be applied directly to the wood for even greater depth of grain. One  packet  mixed in 1 1/2 to 2 quarts of reducer will render a strong dye mix capable of coloring at least two and perhaps more guitars.

Water based Dyes *
 

GRAMBW GRBLUW GRPURW GRSCRW GRREDW GRYELW GRGRNW GRBLKW

1 oz. Amber 1 oz. Blue 1 oz. Purple 1 oz. Scarlet Red 1 oz. Cherry Red 1 oz. Yellow 1 oz. Green 1 oz. Black

* Each packet will make 1 1/2 to 2 quarts of solution.

Alcohol/Lacquer Reducer Based Dyes *
 

GRMBR GRDRM  GRAMB GRBLU GRRED GRSCR GRYEL GRORG GRGRN GRTOB GRBLK

2 oz. Medium Brown 2 oz. Dark Red Mahogany 2 oz. Amber 2 oz. Blue 2 oz. Cherry Red 2 oz. Scarlet Red 2 oz. Yellow 2 oz. Orange 2 oz. Green 2 oz. Tobacco Brown  2 oz. Black

 * Each packet will make 1 1/2 to 2 quarts of solution and is soluble in lacquer reducer or alcohol.

Dye Prices

All colors in either Water or Alcohol based      $7.95 each

GRSPP  GRGF GRFIN   GRSS

3m Brand wet or dry sand paper pack in grades #400, #600, #800, #1000, #1200, #1500 and #2000.   $5.95 per 7 sheet pack Additional sheets, $0.85 each It's hard to find, but here it is, an oil based grain filler suitable for fine wood refinishing work. In 1/2 pint cans.                                $8.95     For final polishing nothing beats Finess It II. Developed by 3M for polishing the swirls out of automotive clear coats Finesse It will put a foot deep shine on a lacquer finished guitar. One Pint (enough for about five guitars). $14.95 Now in an Aerosol; a Nitrocellulose sand and sealer. S&S acts as a grain filler but also levels the wood before shooting the color coats. It dries clear and when block sanded it will give a glass like final finish. $8.95