American Painting Contractor Magazine

August/September 2012

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Page 42 of 63

TWO-STEP WOOD GRAINING 41 for the basecoat. Always choose a basecoat that is much lighter than your finished color. Taking extra time to choose the right color will lessen headaches when graining. Usually, I prefer to use oil as my basecoat, but you can use an eggshell or satin latex paint. Sand the surface with 320-grit sand- paper. Dust can cause big problems when glazing. Dust the surface and sur- rounding areas. Since the glaze will need to dry overnight, controlling dust in the air is important. MIX YOUR GLAZE Use a combination of slow-dry glaz- Combine different glazing mediums to get the perfect open time. ing medium and a fast-dry medium for the desired "open time." Open time refers to the amount of time you have to work on the surface before the glaze tacks up and becomes unworkable. Here is a general clear glaze formula for typi- cal wood grained surfaces like casing and moldings: 60 percent slow-dry glazing medium 30 percent fast-dry medium and 10 percent water (water does not give you a longer "open time" – use only for a thin- ner consistency) ADD COLOR To make a natural wood look, I sim- ply use two transparent colors in my glaze: burnt umber and raw umber (I used a beautiful transparent red in my second step called transparent red iron oxide). You can vary those colors depending on the species of wood and overall desired color, but DO NOT ADD WHITE. It is important the glaze is transparent. It is best to use profession- al decorative painting fluid acrylics (not universal tints). A general formula for your tinted glaze is a clear glaze mixture (see above) and 15 to 20 percent color. Test it, don't measure – this is not an exact science. See Advertiser Index on Page 62 AMERICAN PAINTING CONTRACTOR • August/September 2012 43

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