LATEST ADDITIONS / ARTESANO / ARANJUEZ

Nathan Cragg on a Juan Orozco guitar

On this youtube movie Nathan is most likely playing a model 15

Juan Orozco guitar judging by the tuning knobs in combination

with the ebony fingerboard and the slightly slanted short sides

of the bridge where the strings are attached.

This is a link so you can immediately go to this version of

Classical Gas by clicking on the underlined text.

My comments on this video are the following: Of course guitars

never can be judged on the sound of a youtube movie as in my

expirience the Orozco guitars are more dark sounding, almost

pianolike the way the Kohno's from that period do sound.

Nathan plays with his right hand more towards the bridge than I

should do but that is personally of course but it affects the sound

in being more treble like.

New information about Juan Orozco's 
moves in Japan during the seventies

Around 1969 the first Japanese company Aria guitars arrived in the United States. Orozco is so impressed by the high quality that he booked a trip to Japan with the aim to have his high end classical guitars produced  there for his shop. Three days before the trip, a customer enters his shop and asks for new strings for his guitar. That guitar was produced in Japan, and on its' label the name  "Kohno" is written. Mr. Orozco is again impressed by the quality of that guitar. He writes down the address that is on that label.Without speaking a word of Japanese, Orozco visites a few days later Kohno. The two become friends. Kohno used henceforth Aranjuez strings on his guitars and is selling them in Japan as well. Orozco exchanged valuable expertise with Kohno at that time from which later the best classical guitars of the time emerged.During this trip to Japan Orozco also participates in an exciting experiment in which the sound characteristics of 15 guitars are compared with each other blindly, including instruments of Fleta, Hermann Hauser, Jose Ramirez and Kohno. This comparison confirmed Mr. Orozco that he has to collaborate with Mr. Kohno.
1976 - Mass HiradeOn another trip to Japan 1976, the Spanish guitar-maker meets Hirade Mass., who at this time for several years contributed to his great guitar expertise to make the company Takamine to international success. Orozco acquires the original machines and devices that Hirade used for the construction of its prestigious concert guitars. Until today they are in possession of Juan Orozco, now in Puerto Rico.1977 - Orozco guitars - forerunner of today's guitars ArtesanoIn the years 1977 to 1981 Mr. Orozco began importing prefabricated high-quality guitars, according to his specifications from Japan where he had an office in Tokyo as well. Probably he then refined them in his own workshop though I do have my doubt about this. The factory, which takes care of basic guitars, Hoshino Gakki is the founder of Tama Drums. There are 120-130 precious guitars made in the month, of which 75 pieces each for Juan Orozco. Here is his most famous models are created with the numbers 8, 10 and 15. The other models are built for the production Kohno and Sakurai.Orozco guitars from this era are now collector's items. In 1980, the model will cost about 8 $ 280, Model 10 is available for around $ 450, and 15 for the top model with rosewood back and sides to be a musician back then 500 - spend $ 600.Today, the instruments, depending on the condition that be worth up to ten times.Orozco initially used a head profile in the style of Fleta, but later he added his own design, which bears the famous diamonds and are used again on the present produced Artesano guitars. The importer for Europe is Martin Meckbach. Typical for the instruments of that time are the slanted bridge sides, the roses engraved tuners, the thickening around the soundhole and last but not least,  the unique wood inlay around the sound hole, the so-called  rosette. (See Artesano website of Martin Meckbach)The question whether they produced in this workshop in Nagoya guitars for Kohno and Sakurai is still subject of debate, and there is no official proof or statement about that link. It could also well be that they produced very high-quality copies of Kohno guitars but never delivered any instrument to Tokyo, but Orozco truly believed (or was told) that they did. Mr. johannes Orphal who provided me with lots of valuable information still is in close contact with Mr. Meckenbach. Mr. Meckbach could be the person to solve the mystery around the Kohno and Sakurai labelled guitars as he still is in close contact with Mr. Orozco.Aranjuez guitars

This Aranjuez labelled guitar popped up on a yahoo market

and most likely was ment only for the domestic market. The

Fleta head, placed on the earlier Juan Orozco guitars is there!

The slanted sides of the bridge as well and while this guitar

has been built with an ebony fingerboard we think it to be

a higher end guitar.

Nicely decorated back but only one reinforcement stripe in the neck.

The knobs for the tuners are clinched which mostly is a sign of a higher

quality tuner. Again all parts are executed with craftsmanship.

This guitar has been offered on E-bay in Japan and it is really interesting

to see its' label as that mentions: Matsuoka and besides that " inspected
and built under supervision of Mr. Sakurai" . I allready saw a label that
mentioned: Takamine, Kohno and Aranjuez. and thanks again to Dan
Lindsey who is allways searching for new things in this topic to be
discovered. He has a Japanese girlfriend!

Further in this Blog the lines and connections between the different

firms are discussed but it was at the end of the seventies in Japan

very common to come up with Kohno copies. I just do not

know wether if this guitar has the lattice bracing but anyway rosewood

(laminated probably) sides and back. With many thanks to Dan

Linsey who lives in Japan and could be a valuable source of

information in the near future.

This instrument is a 1979 Aranjuez guitar that

has been signed on the label by Juan Orozco.

No reinforcement of the neck with two ebony strips

but with the later designed head by Mr. Orozco.

Many thanks to Kate Plews. Nice jewels

she makes as well! Google for Breodesigns.

As my blog is quite frequently visited I'm able

to make the story of Juan Orozco even more complete.

It is well known that the Aranjuez strings are a part

of Juan Orozco's business. I didn't knew that at the

end of the seventies Mr. Orozco also launched a serie

of Aranjuez guitars. Let's examine the different

parts and compare them to the guitars that have

an Orozco label.

A picture of the back that puzzles me a bit as the wood

doesn't seem to be indian rosewood. And probably this back

has been veneered. Compare it with the wood around

the label further presented here. On this picture you can

see a part of the neck that doesn't have the double

ebony striped reïnforcement.

We've seen allready Aranjuez guitars with a "Kohno" label

under licency of Takamine and this guitar bears the same

label but with the addition "Matsuoka". Probably made

only for the Japanese market as these pictures come

from the Yahoo Japan auction site. They have been

provided by Dan Lindsey who allready came up with

other additional and interesting information.

Anyway, thanks again Dan!

A word about Matsuoka:

Unlike Matsumoku, the Ryoji Matsuoka guitar works

was a small scale guitar manufacturer with under 15 employees.

It is still in operation and sells low to mid-priced classical guitars.

The current operation is overseen by Ryoji’s son:

Toshiaki Matsuoka. The last that I have heard is that

Ryoji is still involved with the company and is the

chairman of the board.

For a few years during the 1960s and early 1970s ,
Matsuoka produced the higher end Aria guitar models for
Shiro Arai, founder of Aria . These Aria models either have
Ryoji Matsuoka's name on the label or are marked

RM with a red stamp on the neck block. Matsuoka
also made some models for Ibanez, including a few
steel string flattop and archtop models.

During the early 1970s, Matsuoka produced Fleta,
Hauser, Kohno and Rubio (David, not GV Rubio) models.
From 1975 to 1980 the company produced their own
line of guitars: the concert, artist and artisan series.

The Concert series includes the M20 ( lam spruce top,
nato neck), M30 (solid spruce top, mahogany neck),
M40 (solid spruce top, mahogany neck). All 3 models
have laminated rosewood back and sides and
rosewood fingerboards.

The Artist Series includes the M50 and M60. These guitars
have better quality spruce tops, laminated Jacaranda back
and sides, and ebony fingerboards

The Old World Artisan Series includes the M70 and M80,
which had a one-piece classic guitar neck and I believe
laminated rosewood back and sides.

During the 1980s and early 1990s, Matsuoka models included
the M300, MH200, M150, M100, M80 and M60.
I know that the M300, and MH 200 had solid

rosewood back and sides. I believe (but I am not sure)
that the M150 had solid rosewood back and sides.
The M80, and M60 had laminated rosewood back and sides

This picture shows us Kate's guitar that most

likely has been made out of veneered mahogany.

This head is supposed to be introduced in the eighties on the

Orozco models but it is allready present at this 1979 Aranjuez

guitar. The inner carving for the tuners differs from the Orozco

models in the way the the lower ends have been finished

square as opposed to the round finishing on the Orozco guitars.

Kate's guitar has a similar headshape and details.

The lay out of this label appears to be quite similar to the

Orozco labels of that time. The label has been stamped

and signed in blue ink. The number seems to follow the same

codes as the Orozco's. The wood around the label isn't that

striped as the outer back so I think it to be veneered as

was quite common on Japanese produced guitars of that time.

The back on the inside also seems to be slightly

varnished similar to the Orozco (and Kohno) models.

Because of the fact Kate's label differs

from the previous example in this chapter

I decided to publish it. I expect this Aranjuez

guitar to be laminated but I'm not sure

about it. It simply has a different number.

I think it to be a more modest model than the

the first posted label.

Another Rosette as well and of course not visible on this picture:

The soundhole reïnforcement also is there the way it has been

done on the Orozco guitars: About an inch wide and rounded.

I'm still curious wether if they followed the lattice bracing

for the soundboard. I will let you know as soon as we

found out more regarding this subject. Mr. Johannes Orphal

has an Orozco labelled guitar that has no lattice bracing!

A laminated top but still a handwritten Orozco label...

By looking at the bracing one must conclude it to be a 

fan bracing which was not common on the high end models.

The endblock with several production markings.

Thanks to Johannes Orphal who provided me

with these pictures and has close contact with

Mr. Martin Meckenbach (Artesano site)

The picture above can be compared with the following one: 

The same rosette. This is what Mr. Orphal tells us about his guitar:

What one can see is that the bracing is totally different from the 

Kohno  “lattice” bracing. It is an extremely simple 5 fan bracing, 

with glue coming out at several places. There is also no horizontal 

bar under the bridge, what I interpret that the top might be laminated. 

Actually the top looks very different from the outside (I would say, cedar). 

The inside layer looks more like spruce. One could imagine that this 

is a flamenco guitar (the “F” in the label, and also the slot at the bridge 

is rather low) but the back and sides are laminated rosewood, 

so at best this would be a “negra” then.

One can also see that at the sound hole, the top “veneer” is not continued, 

but that there is a yellow ring-type structure around the sound hole 

(probably to hide the “sandwich”).

The rosette is beautiful and very probably hand made. Note that the 

fingerboard is also rosewood and not ebony. There are no ebony 

stripes at the back of the neck. The head is fully “Orozco” type 

 (already in 1977! in the catalogs etc., this headstock only appears 

in 1979, until then the “Fleta” type headstock was always shown).

The back is also laminated but varnished also from the inside, 

but again, no agreement at all between the outside appearance of the back 

and the inside. At the end block, there is some writing in Japanese, 

and numbers. The Spanish heel shows the data stamp: 770914. 

In Nagoya, and at the time of Matsuoka, this indicates the production 

date: Sept 14, 1977.

So this is a guitar from 1977 with Orozco headstock and label, 

but laminated top and back, and a very simple bracing.  

A nice shot of the rosette of Kate's guitar

that proves to be quite similar to the other Aranjuez.

The inner heel has been constructed in a same way they did
in the Orozco models 8 and 10. Also stamped in the same place.

Furthermore the inner lining appears to made of the same kind
of wood. I think it to be mahogany. Looking at the outer
ends of the soundhole you might be able to trace two layers
of wood: The soundboard and sticked on it from the inside:
The reïnforcement. The sound was descibed as being of really
high class. A comparision with a José Ramirez R2 and a
Bernabé guitar proved that this guitar was even better.

Many thanks for these contributions to Anthony Hermann.

Artesano Models:

Recently I got an E-mail from a company in Germany that

started a collaboration and are producing guitars again

under supervision of Juan Orozco. They had contact with him

several times and it is stunning to see that even at his age

he is still involved in guitar making one way or another.

You can registrate your (older) Orozco guitar there

and they are planning to start something like an Orozco

fanclub. I was honoured to put up the first Juan Orozco

guitar registrated. You can visit them at:

http://www.artesanoguitars.com/

Martin Meckbach from Musik-Meyer is the one to contact

for more information.

While the Juan Orozco company is situated in Puerto Rico. The company has the guitars under the name of Artesano produced in Spain. I'm not informed about the different models and/or

quality but I found the following information on the internet.

Juan Orozco represents a noted family of guitar-makers from Spain's province of Andalusia. He established his business in New York CityNew York City: see New York, city.

New York CityCity (pop., 2000: 8,008,278), southeastern New York, at the mouth of the Hudson River. The largest city in the U.S. ..... Click the link for more information. in 1965, and since then the firm has specialized in the manufacture of flamenco and classical guitars, including such noted guitars as a royal family of the Spanish guitar, Los Romeros, now performing with Aranjuez Strings from Juan Orozco, luthierlu·thi·er n.One that makes or repairs stringed instruments, such as violins.

[French, from luth, lute, from Old French lut; see lute1.]Noun 1. ..... Click the link for more information.. Aranjuez Strings, introduced in 1968, met with rapid acceptance in the U.S. and abroad. The company produces guitar cases under the name of Artesano hard-shell cases sold in the U.S. and overseas, and refinished in the 48,000-square-foot factory in Puerto RicoPuerto Rico (pwār`tō rē`kō), island (2005 est. pop. 3,917,000), 3,508 sq mi (9,086 sq km), West Indies, c.1,000 mi (1,610 km) SE of Miami, Fla. ..... Click the link for more information.. The company also has guitars under the name of Artesano Classical Guitars, which are made in Spain but refinished in Puerto Rico. Exclusive agencies: Auxtria--Rudolph Eltner, MusikinstrumentationGrosshandel, A-! 8750 Judenburg, Kassengrasse 25, Judenberg, Austria.--Aranjuez Brazil, Rua Voluntarios de Patria PATRIA. The country; the men of the neighborhood competent to serve on a jury; a jury. This word is nearly synonymous with pais. (.q.v.) 2353/61, Sao Paulo, Brazil. Finland--F-Mussikki Oy, Aleksanterinkatu 11, PO Box 260 SF-00101, Helsinki, Finland. France--Strings Music Import, 18 Rue Faillebin, 69100 Villeurbanne, France. Germany--Music Meyer, 355 Marburg, Lahn, Germany. Holland--Van Wouw B.V., Molenpad 13-17, Amsterdam C, Holland. Spain--Aranjuez Espana, C/Jesus Aranbarri, 38-442 V-32, 37003 Salamanca, Spain. Switzerland,. Warry, Case Postale 47, 1162 Saint-Prex, Switzerland. Sweden--Gitarren AB Skanstorget 10 S-411 22 Goteborg, Sweden. The company is also the exclusive U.S. distributor for Ricordi Americana. Refer to "Ricordi Americana" in the Publishers section.

OROZCO CORP., JUAN--P.O. Box 812, Maunabo, Puerto Rico Maunabo is a municipality of Puerto Rico located in the southeastern coast, northeast of Patillas and south of Yabucoa. Maunabo is spread over 8 wards and Maunabo Pueblo (The downtown area and the administrative center of the city). ..... Click the link for more information. 00707-0812. Telephone: (787) 861-1045. Fax: (787) 861-4122. Email: aranjuez@juanorozcoltdinc.com

The above mentioned information can be found on:

http://www.thefreelibrary.com/Music+%26+sound.-a0156652198

Presented here is a cutaway model from Artesano, the Sonata

which is not the highest model but a very decent sounding ex-

ample from this company. Though it should have been made

in Spain, the label says otherwise: "crafted in China" but it is

 is a finely made instrument and all in all a brand to look after.

This guitar has an under saddle pick up and I had

it here for repair as the strings frequently broke

because the contact surface with the bridge was

much too sharp. Moreover there was too much 

play on the bridgebone so I mounted a new one.

With many thanks to the owner: Albert Eerkens

IBANEZ / OROZCO 8 / KOHNO

IBANEZ MASTERCRAFT SERIES

Also in these guitars the lattice bracing used in the

Orozco / Kohno / Sakurai guitars can be found!

That's why I've included this short Ibanez interlude.

This is the lattice bracing that can be found in an Ibanez
catalogue of the Masterclass series of 1980.
Clearly visible is that the headshape and the double
ebony reinforcement for the neck are also there!
It is a well known story that Tama produced the Artwood
steelstring series of that time but as can be seen here
the influence and production of Tama reaches further.
Further in this blog I made a rough design of this bracing
but I made it seen from outside so the one longer brace
comes under the higher strings in both cases!


Nice shot of the head so well known to the Orozco
and Kohno enthousiasts! Let's see what Robert Ruck
the American luthier who is very active in guitar research
too says in an interview regarding this subject:

"I was very impressed with Masaru Kohno's guitars.
The early ones were very Spanish inside and out,
but he developed a bracing system that was a huge
departure, an early lattice-style bracing.
He had a major cross brace under the soundhole,
and about 2" to 2" and ½" below that,
he had a very light cross brace.
This is somewhat similar to Fleta's two very strong cross braces.
Under the bridge, Kohno had a strap about the width of the
bridge and at least 1.5 mm thick that ran the entire
width of the top, and the fan braces were mitered over it.
It was like a symmetrical 8-fan-brace pattern, except he left off
the outer one on the bass side, so it was an offset 7-fan pattern.
Then, below the fan braces, instead of a closing V
he had another continuous cross brace.

One very rigid fan brace ran under the bass end of the bridge
and mortised over both the bridge strap and the lower cross bar.
The bracing looks like a grid and is very stiff,
but in some ways he frees the top.

Those Kohno guitars sound like pianos! They are very even,
with powerful trebles that sing up to the highest notes,
and much longer sustain than any Spanish-style instrument."
(With many thanks to Johannes Orphal who sent me this
attribution)

Ibanez Classical guitar 2858

This guitar came to me in an auction and because of the

fact it only had one string we were able to investigate

the bracing of the soundboard. That's the reason why

I publish these pictures. It is widely known that de TAMA

factories produced the later Ibanez Artwood series which

are known for their outstanding qualities.

The Tama guitars and especially the dreadnought

ones are becoming a myth in itself!

The Ibanez series start with the 2850 though from

the 2860 model the instruments were supplied with an

ebony fingerboard. The cheapest guitars in this serie had

plywood tops, comparable to the later GA 60 Ibanez

models. Even those guitars are worth every penny.

By clicking on this picture you can easily determine the solid
top. Though the fingerboard is very dark it is in fact
a rosewood one. As a cost saving process some of
the Ibanez guitars had veneered sides and back but 
keep in mind that the sides from the Jose Ramirez 1A
model are veneered as well and this feature can also
be seen in the nineteenth century french guitars.
The odd thing here is that the inner veneer layer
is also made out of rosewood!

The back of this Ibanez guitar immediately shows us the lack of the
two ebony stripes that are placed in the neck as a
reinforcement as was done on the Orozco, Kohno and
Sakurai instruments.


A nice shot of the rozette that betrays its' exquisite
workmanship! The quality of building
is allmost flawless.

Also interesting is to compare the tuners on this guitar with the ones
on the TAMA, Orozco, Kohno and Sakurai examples:
No roses here! But very smoothly working.

The veneered head in the Ramirez style.
Dimensions are very close to the original as
I'm in the posession of a 1981 clase 1A Ramirez.


A nice shot of the sides that are bookmatched.


And of course the label that states this instrument
has been manufactured in Japan.

Ibanez Andorra 2857

Another example out of the Andorra series that

bears model number 2857. The headshape differs

from the Ramirez headshape of the model 2858 but

again the lattice bracing is there and workmanship

also on this guitar is immaculate. Remember that these

guitars were priced at DM 518,- back in 1976.

This one is a real early one: 1974 as the first two

digits on the heelblock states.

What surprised me was that the neck of this Andorra

series Ibanez was equipped with a double ebony neck

reinforcement as has been done on the Orozco's a.o.

Another remarkable feature are the small sides of the

bridge where the strings are attached: Slanted as

was the model Tama used on most of their classical

guitar models. Small detail but significant.

In fact this is the most interesting part as this bracing

has been taken from my Orozco model 10.

We were able to compare this bracing with the

bracing in this Ibanez labelled instrument.

Exactly the same, so no fan bracing as

José Ramirez did. The thickening around the soundhole

is visible in my drawing but also on the picture above!

With many thanks to Joris de Baat who took these pictures

we are able to see the side under the higher strings (pitch)

And these braces can be found under the bass side.

Joris thinks it to be a kind of reverse fan bracing but I don't

agree with him. All braces are placed parallel to each other.

We call it a lattice bracing

Joris even made a panoramic view of the bracing

that is written in my mind so it was easy to conclude

that alongside some other features this guitar

must have been produced in the TAMA factory as well.

Ibanez Andorra 2862

One of the higher end models in the Andorra series

was offered for a small reparations though what appeared

to be a crack wasn't a crack at all. I'll explain further.

A bit with the Jose Ramirez 1A models in mind the guitar 

has been equipped with this headform. A good start anyway.

Just a bit outside the middle of the two halves (to the right)

there appeared to be small cracks. Most of the time, cracks are 

the result of a shrinking soundboard and will even open and

then a splint is necessary to repair the crack in question.

At first after a light test we can draw the conclusion that

they still close and even aren't visible from the inside at

all. Thy are there in the lacquer as a small kind of bulb

in the soundboard is the result of the expanding wood.

For all security glue has been worked in and as far as 

possible flattening the area has been done afterwards.

Beautiful purflings are there all around this guitar, Very 

well crafted and also the inner woodwork is an attest of it.

Though it looked a bit like spruce, used for the sound-

board it in fact is cedar. The Ibanez catalogue is stating 

that this model only later has been equipped with a cedar

soundboard together with all solid sides and back. Well, 

the cedar certainly has been used but the sides and back 

are laminated, though rosewood on rosewood.

A stunning back and the fact that it is laminated won't 

have that much effect on the final sound. Most of the

time Jacaranda is the word used for this rosewood.

The double ebony  inlay is a bit similar to the Kohno

way of working as is the lightly sprayed inner back.

As it is laminated, highly figured rosewood isn't a disadvantage

as that is more prone to show cracks along the timeline. The

two layers for sides and back result in a strong soundbox.

Not that well visible but certainly a 2862 model that can

be described as a transition model towards the later 1979

produces all solid guitars. Inner bracing is again a bit

reminiscent of the formerly produced Tama classical

guitars from which you can study the bracing elsewhere.

MASARU KOHNO.

The comments at the end of this message states that there are no

connections between Kohno and the copies made in Japan

by the Tama factory. Juan Orozco puts it another way:

He talks about a collaboration between
Kohno, Sakurai and himself in developing a guitar for the

worldmarket that either had a Kohno, Sakurai or

Orozco label sticked inside.

At the end of the seventies when I was studying classical guitar
some students came up with either an Orozco or a Kohno supplied by
the same distributor. These guitars appeared at the same time which 

can't be a coincidence having read lots of other stories.

The only Ryoji Matsuoka - Masaru Kohno connection that I know of is that during the 1970s Ryoji Matsuoka sold a classical model that was a very good copy of a high end Kohno model 50. I owned one --- it was a great playing and sounding guitar. The guitar had Kohno’s trademark double ebony neck support. Kohno copies were popular in Japan after Masaru Kohno won the gold medal in lutherie at the 1967 Liege Concours National des Guitars / Queen Elisabeth International Music competition in Belgium. Robert Bouchet was one of the Jurors. A couple of other Nagoya guitar makers, including Tama, sold a Kohno copy with the double ebony neck support. Juan Orozco of New York also sold a Japanese Kohno copy guitar under the Orozco label. You will sometimes see these instruments for sale on ebay, but beware as some ebay sellers will purport that these guitars were made at the Kohno workshop or under contract with Kohno. According to Masaki Sakurai, Masaru Kohno’s nephew and successor, they were most definitely not made at the Kohno workshop and have no connection with Kohno-Sakurai guitars.

Something about the lacquering process

 In the seventies of the past age it was quite common to use

polyurethane finishes. They are quite hard but were most of the

time only used on the lower price range instruments. In Japan

often the addition "catalyzed" (polyurethane) is used. But for 

the more high end instruments the so called "Cashew Oil" 

a oil based polymerized varnish. Wether if the cashew nut is 

responsible for its' name I dare to doubt that. It has

everything to do with the cashew nut color!

Something about lacquer and more....

Polyurethane and lacquer are two of the common wood finishes used to add a smooth and glossy coat. The other closely-linked finishes include shellac and varnish. Polyurethane and lacquer are oftentimes used interchangeably mainly due to the confusion of their identities. There is a significant difference between these finishes, and this article unfolds that.

What is lacquer?

Lacquer is a common wood furniture finish preferred by woodworkers among other finishes. This has to do with its ease of applications and quick-dry as it is a thinner finish. It provides a smooth and glossy finish while remaining durable on the wood. Again, it is resistant to damages as it penetrates the wood surface. Applying lacquer requires a high-volume, low-pressure sprayer in an adequately ventilated room.

There are basically three lacquer variances, viz. acrylic lacquer, water-based lacquer and nitrocellulose lacquer. Irrespective of these variances, lacquer is generally durable and quick-drying.

• Acrylic lacquer – Acrylic lacquer is well-known for its resistance to causing yellow color on wood finishes as others do. Instead, it leaves a clear color. Among other types of acrylic lacquers, there is the CAB-acrylic lacquer – a finish that is less brittle and more flexible. It is furthermore resistant to wear and scratches. However, it is costly. Applying this finish requires the spray if you combine it with a thinner agent.
• 
  
• Water-based lacquer – this lacquer finish is less toxic, odorless and more durable than other oil-based finishes. Comparing it with nitrocellulose, it can last for an extra period of 5 years. It also dries faster and costs lesser.
• 
  
• Nitrocellulose lacquer – the finish is characterized by its evaporative property. It was first used on automobiles and later found its way to wood furniture. It enhances the color, and so it can be used on light or dark wood furniture. Moreover, it is resistant to damages while giving your wood surface a protective film. Nitrocellulose lacquer should be applied with caution as it is highly flammable. It requires a well-ventilated room. Also, do not overspray it.

If lacquer requires repairs, it is easy to accomplish that because it is thin and thus blends effectively with previous coats. Polyurethane on the other hand may require sanding to enhance adherence of successive coats so (wet) sanding in between with a very fine grid is necessary.

What is polyurethane?

Polyurethane is also a popular wood finish applied to provide a thick and glossy finish. It is basically a plastic in a liquid form until it dries. Polyurethane, unlike lacquer, is thick and not easy to apply with the spray unless a thinning agent is combined with it. The finish comes in water-based and oil-based. These variances typically differ in the dry time and composition, but are commonly durable.

Oil based polyurethane 

This one carries the identity of polyurethane finishes. It is durable but dries slower. It can take up to 24 hours to dry hence professional woodworkers often prefer lacquer or water-based polyurethane over the oil-based one. However, the oil-based polyurethane is more durable than water-based ones. And, it can withstand heat abuse, and so using it on kitchen tabletop is the best strategy.

The oil-based polyurethane imparts odor and it is toxic. Users need to use it in an adequately ventilated environment. The downside of it is that it cures after a long time. Once it is applied incorrectly, it has to be sanded because successive coats will not adhere firmly to the previous one. Unlike the lacquer finish, polyurethane does not penetrate the wood. It only gives a surface coat that is durable. The other downside is that the oil-based one can leave a yellowish color on light wood products.

Key differences between lacquer and polyurethane

Quality

Despite being available in variances, polyurethane is more durable. It is thick and leaves a strong coating. Lacquer is thin and penetrates the wood surface. It is also durable but susceptible to scratches and discoloration after some time.

Ease of application

Polyurethane is thicker and needs a brush to apply it. There could be some brush marks on your surface after applying it. You need a fine brush to prevent that. With the lacquer, you need the high volume low pressure sprayer to spray it on your target. It applies evenly even though the spray is expensive than the brush. So, in comparison, it is easier to apply lacquer than it is with polyurethane.

Summary of Lacquer Vs. Polyurethane

• - Polyurethane is thicker than lacquer and dries after a long time
• - Lacquer is thinner and dries quicker
• - Polyurethane is available in water-based and oil-based 
• - Lacquer is available in acrylic, nitrocellulose and water-based
• Lacquer is easy to apply multiple coats because it dries quicker and the coats adhere to each other easily
• Polyurethane coat needs sanding for multiple coats
• Lacquer is applied with the high pressure low pressure sprayer whereas polyurethane is applied with the bristle brush. If a thinner is added, polyurethane can be applied with the spray too
• These finishes are both durable but polyurethane is more durable.

About Catalyzed Polyurethane.

It is equally or more water resistant than oil-based polyurethane.

Besides that it is a sprayable finish and can be built up and act as 
its own sealer. It allows easy repairs with minimal turn around time.
If you don’t mind a slightly plasticy look it holds up well.